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It was not a good day for Dr. Phil.

Phillip McGraw, the genial celebrity psychologist who spent a career calling out the behavior of others and doling out zingers, found himself upbraided by a bankruptcy judge.

Merit Street Media, McGraw’s new network, had filed for bankruptcy protection in July, a little more than a year after he launched the media startup, and then sued its distribution partner, Trinity Broadcasting Network.

During a nearly three-hour hearing in Dallas last month, U.S. Bankruptcy Judge Scott Everett said that he’d “never seen a case” like the Chapter 11 filing McGraw’s company was attempting.

Everett cited evidence indicating McGraw had “violated” a court order by deleting “unflattering” text messages that allegedly described his plan to use the bankruptcy to “wipe out” creditor claims.

“What makes this case unique, unfortunately, is that it has been plagued with the attempted destruction of relevant evidence and less than truthful testimony by some of the key players,” said Everett, alluding to McGraw and his associates in the case.

Everett ruled that Merit Street be liquidated.

Following the hearing, a spokesperson for McGraw’s production company vigorously denied the accusation that he destroyed evidence and said he is appealing the ruling.

“Dr. McGraw’s excellent record of integrity, success and service to millions over two decades speaks for itself,” said Chip Babcock, attorney for McGraw’s production company.

The unraveling of McGraw’s media venture was a gut punch for the celebrity therapist who has assiduously built a reputation — and tremendous personal wealth — as one of the most trusted voices on television. But his fortunes faded amid a dying market for syndicated TV and clashes with a distributor and partner.

After 21 years as host of the successful syndicated talk show “Dr. Phil,” McGraw went out on his own last year. He launched Merit Street Media in Texas, a company that he said would promote “family values” and serve as an antidote to “woke” culture, only to find that his ambitions collided with a new television reality.

Unlike “Dr. Phil,” Merit Street was untethered to the well-oiled machine of Paramount Studios in Los Angeles, where it was filmed, and top-tier distribution partner CBS.

Moreover, the sheer force of McGraw’s personality could not overcome the fact that linear TV is on the wane. Syndicated daytime TV shows are no longer the cash cows they used to be as most viewers consume content through streaming and other digital outlets such as YouTube and TikTok.

“By the time he put this new company together, the ‘Dr. Phil’ era had kind of ended,” said Robert Thompson, director of the Bleier Center for Television and Popular Culture at Syracuse University. “There is a shelf life to these characters and he reached his.”

An Oprah favorite

McGraw rose from clinical psychologist to an American living room staple and self-help guru in the late 1990s after Oprah Winfrey anointed him as her protégé.

Television’s then-reigning queen hired McGraw to prepare for her libel case brought by Texas cattlemen in 1997. They claimed her comments during an episode about mad cow disease disparaged them and caused beef prices to drop.

Winfrey prevailed, but it was McGraw, a former linebacker with the commanding presence of a sheriff from an old-time western, who emerged victorious.

Oprah Winfrey launched “Dr. Phil” after he advised her during her Texas cattlemen’s libel trial in the late 1990s.

(Christopher Smith / Invision / AP)

Much like books, pajama sets and certain chocolate brands, McGraw became one of Oprah’s favorite things. Recast as “Dr. Phil,” she featured him during weekly segments on her hugely popular talk show, starting in 1998. By 2002, a “Dr. Phil” spinoff began airing five days a week, produced by Winfrey’s Harpo Productions.

The show was distributed by CBS Media Ventures and filmed on a soundstage at Paramount studios on Melrose Avenue with a live audience, and it became the de facto voice for home viewers.

McGraw quickly earned a massive following for dispensing advice to cheating spouses, drug addicts, troubled teens, meddling in-laws, infamous criminals and celebrities. He delivered his no-nonsense, often blunt assessments wrapped in folksy Southern sayings such as “No matter how flat you make a pancake, it’s still got two sides.”

For more than two decades, “Dr. Phil” was a top-rated syndicated daytime talk show — 11 of those seasons at No. 1 — garnering 31 Daytime Emmy nominations. He was catapulted to stardom, appearing everywhere from late-night talk shows to sitcom cameos, even a character on “Sesame Street,” Dr. Feel. In 2020, he received a star on Hollywood’s Walk of Fame.

Dr. Phil McGraw with his wife, Robin McGraw, his son Jay McGraw and his wife, Erica Dahm, as well as their two children, London and Avery, at the ceremony celebrating Dr. Phil receiving a star on the Hollywood Walk Of Fame.

(Getty Images)

McGraw leveraged “Dr. Phil” as a launching pad for his ever-growing empire of bestselling books and various ancillary businesses, including a virtual addiction recovery program, a telemedicine app and production company, Stage 29, with his son Jay McGraw that produced shows like daytime’s “The Doctors.”

But as McGraw’s popularity and influence grew, so did the controversies.

The family of Britney Spears criticized him after he visited the troubled pop star when she was hospitalized on a psychiatric hold and issued a news release saying she was “in dire need of both medical and psychological intervention.”

A spokesperson for the Spears family said, “Rather than helping the family’s situation, the celebrity psychologist caused additional damage.”

McGraw later told viewers on his show that “I definitely think if I had it to do over again, I probably wouldn’t make any statement at all. Period.”

Claims of conflict

Questions were also raised that McGraw used his show to promote businesses and products connected to his family and affiliates, sometimes without fully disclosing those ties.

In 2006, McGraw settled a lawsuit for $10.5 million with consumers who alleged that he defrauded them by making false claims about a line of nutritional and weight-loss supplements that he endorsed on “Dr. Phil.”

He faced a Federal Trade Commission investigation into false advertising and the line was eventually discontinued.

McGraw denied the allegations and did not admit to wrongdoing or misrepresentation in the settlement.

“Dr. McGraw’s career stands among the most successful in television history,” Babcock said. “His programs always have been completely transparent, with all brand integrations under full network oversight and full FCC compliance.”

The on-air promotion of McGraw’s family businesses, such as his wife Robin McGraw’s skincare line and lifestyle brand and his son Jay McGraw’s books during “integrations,” also drew scrutiny.

Dr. Phil McGraw and son Jay McGraw.

(Jason LaVeris / FilmMagic)

“Dr. Phil” episodes frequently featured guests suffering from addiction who were often offered the opportunity to check into a treatment facility at the end of the episode.

In 2017, an investigation by STAT News and the Boston Globe alleged that the show highlighted specific treatment facilities in exchange for those recovery programs purchasing various products affiliated with McGraw.

A spokesman for the show had denied the allegations, saying that “any suggestion that appearances on Dr. Phil’s show are linked to the purchase or use of this program is false.”

McGraw’s wattage remained undimmed. He continued to branch into new ventures. He launched a podcast in 2019, “Phil in the Blanks,” and prime-time TV shows like “Bull,” a legal drama on CBS based on his experiences as a trial strategist, and another CBS legal drama, “So Help Me Todd.”

The “Dr. Phil” show has said that since its premiere, it has provided $35 million in resources to its guests after they appeared.

During the last years of “Dr. Phil,” staffers and viewers noticed that programming began to shift away from advising relationships, parenting and money issues to more conservative and cultural issues such as immigration and transgender athletes.

“He took a political slant already, but once COVID hit, [the show] skewed more and more political,” said one former longtime “Dr. Phil” staffer who declined to be named out of fear of retaliation.

During an appearance on Fox News in April 2020, McGraw said that pandemic lockdowns would be more fatal than the virus, drawing a widespread backlash on social media.

McGraw later posted a video saying he supported CDC guidelines but was concerned about the mental health effects of long-term quarantine.

“He was very good about getting big stories, but we had no input, and believe me, if we ever wanted to or tried, we’d be just told ‘no,’” said a former executive at CBS, who declined to be named due to the sensitivity of the subject matter.

Starting over in Texas

In 2023, McGraw announced that he was leaving CBS and returning to Texas to launch a new venture and broaden his audience, citing “grave concerns for the American family” and that he was “determined to help restore a clarity of purpose as well as our core values.”

Merit Street built a studio in a former AT&T call center in Fort Worth. Many of the staffers were veterans of “Dr. Phil” or had worked on McGraw-related content and relocated from Los Angeles to Texas.

Dr. Phil and President Trump at the National Day of Prayer event at the White House in May.

(Mandel Ngan / AFP via Getty Images)

The network, whose name was derived from meritocracy (with shades of main street), premiered in April 2024.

“Merit Street Media will be a resource of information and strategies to fight for America and its families, which are under a cultural ‘woke’ assault as never before,” McGraw said in a statement.

McGraw aired “exclusive” interviews with Donald Trump and Robert F. Kennedy Jr. on his flagship, “Dr. Phil Primetime.”

Programming consisted of a slate of news, entertainment and conservative commentary programs with former syndicated television stars Nancy Grace and Steve Harvey, whose Steve Harvey Global had a 5% stake in the company, according to Merit’s bankruptcy filings.

In January, McGraw made headlines when he taped interviews with Trump’s top border policy advisor Tom Homan during controversial immigration raids by ICE agents in Los Angeles.

But Merit struggled to find an audience; only 27,000 viewers tuned into the network weekly during 2024, placing it at 130 out of 153 U.S. channels, according to the Hollywood Reporter.

“It’s totally false to say Merit had bad ratings,” Babcock said. “For a startup, it was like a rocket ship; at one point it passed CNN in the first few months of its existence.”

Merit soon scrapped the live audience for “Dr. Phil Primetime” and eventually production on its original programming came to a halt.

Four months after the network’s debut, the company cut 30% of its staff, including workers who had relocated from Los Angeles.

Facing mounting debts, Merit filed for bankruptcy protection in July, listing liabilities of at least $100 million.

“You could see the writing on the wall,” said the former CBS executive. “Ratings for syndication were dropping.”

While still a household name, McGraw was part of a waning breed of TV syndication stars — Judge Judy, Maury Povich and Ellen DeGeneres among them — whose shows were fast becoming nostalgic relics.

Former McGraw staffers from his CBS days said it appeared that he thought he could simply translate his name recognition and longtime popularity to the new venture, but failed to grasp the new digital media landscape.

“The programming model that he launched in 2024 was more appropriate two decades earlier,” said Syracuse University’s Thompson.

Merit Street faced internal strife as well, according to former staffers and court filings.

Former employees described tensions between Los Angeles transplants and less experienced nonunion crews.

“It was total disorganization,” said one former field producer who had worked for the “Dr. Phil” show and then relocated to Texas to work for Merit Street, who declined to be named out of fear of retribution. “Everyone kept saying this was a startup, and maybe it was. People made decisions but had no idea what they were doing,” the producer added.

A representative of McGraw’s production company conceded the startup had growing pains.

“The company thought they could produce the same quality production with less people,” he said.

Compounding matters, relations between Merit and its business and broadcast partner TBN also soured.

Merit alleged in its lawsuit that TBN provided “comically dysfunctional” technical services, with teleprompters and monitors blacked out during live programs before a studio audience.

The suit further alleged that TBN failed to pay TV distributors and had reneged on its promise to cover $100 million in production services and other costs.

McGraw, through his production company, bankrolled the struggling enterprise from December 2024 to May 2025, lending it $25 million, according to Merit’s lawsuit.

For its part, TBN accused McGraw and his production company Peteski Productions of “fraudulent inducement,” alleging in a countersuit that it had invested $100 million into Merit and that McGraw and Peteski had failed to bring in promised advertising revenue.

TBN said McGraw reached out to the company as a potential replacement for CBS as a distribution partner during the latter half of 2022.

“McGraw specifically represented to TBN that he wanted to change networks because of what he perceived to be CBS’s censorship of the content aired on the ‘Dr. Phil Show.’ As McGraw put it, ‘I don’t want snot-nose lawyers telling me what I can and can’t say on TV,’” the lawsuit states.

Instead, they claimed in their complaint, McGraw and his company engaged in a “fraudulent scheme” to fleece TBN, a not-for-profit corporation.

In a statement to Variety, a spokesperson for McGraw and his production company called TBN’s lawsuit “riddled with provable lies.”

TBN did not respond to a request for comment.

Merit also clashed with another partner: Professional Bull Riders, which in November 2024 canceled its four-year contract with Merit and pulled its content, claiming the company had failed to pay the fees it owed.

Professional Bull Riders claims Merit Street stopped paying its broadcast fees and is owed $181 million.

(Anadolu via Getty Images)

PBR, which later signed with Fox Nation and CBS, alleged in a separate lawsuit that Merit breached their contract and is seeking $181 million.

“We’re glad he’s being held accountable,” said Mark Shapiro, the president and chief operating officer of TKO Group Holdings, parent company of PBR, in a statement to The Times.

“Merit Street agreed to work out its differences with PBR in a confidential proceeding which is ongoing. We were therefore surprised that PBR would publicly accuse us of violating our agreement when the facts are in dispute,” the company said in an earlier statement.

Two weeks after Merit filed for bankruptcy, McGraw announced the launch of another new network, Envoy Media Co., that would include live, “balanced news,” original entertainment programming and “immersive viewer experiences,” as well as original programming from friend and former Merit stakeholder Steve Harvey.

Last month, Envoy struck a distribution deal with Charter Communications.

“Dr. McGraw remains deeply proud of his past work and the millions of people it has reached. He’s now turning that same purpose and energy toward Envoy Media,” Babcock said.

But the Merit legal drama is far from over.

TBN has since alleged that Merit Street filed for bankruptcy in bad faith as a way to secure funding for Envoy.

A spokesperson for Peteski called TBN’s allegation “blatantly false” and said Envoy is independently financed.

Earlier this month, Judge Everett rejected Merit’s motion to pause the company’s liquidation while his ruling is appealed. He cited deleted texts in which McGraw described plans by Merit to file for bankruptcy protection to “wipe out” debts from its main creditors, TBN and PBR.

“Candor to the court is critical,” said Everett during his original ruling, and then declared that Merit Street Media “was as dead as a door nail when the bankruptcy was filed.”

A major airline is offering free flights for UK passengers to encourage travellers to explore lesser-known regions away from overcrowded hotspots and help reduce overtourism

Travelling isn’t always cheap, especially when jetting off abroad when the expense of flights are thrown into the mix.

Yet, in a new initiative from a major airline, British and European travellers can bag free flights, but there’s a catch if you’re looking to book.

In a bid to help reduce overtourism in popular destinations, Japan’s largest airline, All Nippon Airways (ANA), has partnered with the Japan National Tourism Organisation (JNTO) to offer free domestic flights this winter. This will allow passengers to take advantage of two complimentary internal flights with any inbound international booking.

The hope is that this will encourage travellers to explore some of the country’s lesser-known regions, from its diverse landscapes to its stunning coastlines, rather than the touristy hotspots, such as Tokyo and Kyoto. This is the ideal opportunity to immerse yourself in the culture and experience another side of Japan, while avoiding the crowds altogether.

READ MORE: EasyJet launches new £40 flights to ‘unspoiled’ Greek town with beautiful beachesREAD MORE: UK Foreign Office’s ‘danger to life’ travel warning for one of world’s safest countries

ANA flies to more than 40 locations across Japan, all of which are included in the deal, so there are plenty of breathtaking places to choose from, including Fukuoka, Hokkaido and Nagasaki. You could also venture to the Okinawa Islands, which have often been described as the ‘Maldives of Japan’ due to their pristine sugar-white sand and crystal clear, turquoise waters.

However, there are a few conditions that must be met to take advantage of the free domestic flights. Firstly, it only applies to travellers arriving from the UK or Europe, and you will have to pay for your own international flight into Japan with ANA.

The cheapest time to book a flight from London to Tokyo is in January, with prices starting from £821. This coincides perfectly with the initiative, as it will run from November 24 to January 31, 2026, with flights still able to take place outside of this time frame.

Passengers will be given standard class flights only with the scheme, and may have to pay tax and visa fees depending on their chosen location. However, domestic flights do not have to start and finish at the same airport, allowing for more flexibility to explore the country.

The airline notes that it hopes this limited-time offer will “make regional exploration… easier and genuinely affordable”, along with encouraging “deeper, more sustainable engagement with Japan’s culturally diverse regions”.

You can visit the ANA website for more details and to book your flights. ANA has also shared itinerary examples with a stay in Tokyo before venturing to the hidden gems to help make booking the trip even easier.

Do you have a travel story to share? Email [email protected]

The technologist and professor Mindy Seu was having drinks when her friend casually referred to the phone as a sex toy. Think about it, her friend, Melanie Hoff, explained: We send nudes or watch porn, it’s vibrating and touch-sensitive — it’s practically an appendage.

“What exactly is sex, and what exactly is technology?” Seu wondered. “Neither can be cleanly defined.”

Around the same time, in 2023, Seu had just published “Cyberfeminism Index,” a viral Google Sheet-turned-Brat-green-doorstopper from Inventory Press. Critics and digital subcultures embraced the niche volume like a manifesto — and a marker of Seu’s arrival as a public intellectual whose archiving was itself a form of activism. The cool design didn’t hurt. “If you’re a woman who owns a pair of Tabis or Miistas, you are going to have this tome,” joked comedian Brian Park on his culture podcast “Middlebrow.”

Still, the knot between sexuality and technology tugged at her. “Recently, my practice has evolved toward technology-driven performance and publication,” she said. “It’s not exactly traditional performance art, but I believe that spaces like lectures and readings can be made performative.” Though she wasn’t yet finished exploring this theme, she wasn’t sure how to approach it next — until an experiment by Julio Correa, a former Yale graduate student, sparked an idea. Correa had devised an Instagram Stories-based lecture format, and she immediately saw its potential. She reached out to ask if she could “manipulate” his idea into a performance piece, and would he like to collaborate?

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Thus, “A Sexual History of the Internet” was born. The work is two things at once: a participatory lecture-performance conducted through the audience’s phones, and an accompanying, palm-sized, 700-plus-page “script” examining how our devices serve as bodily extensions.

The book isn’t exhaustive but instead a curated miscellany of non-sequiturs and the kind of dinner-party lore Seu delights in. Did you know that the anatomical structure of the clitoris wasn’t fully mapped until a decade after the invention of the World Wide Web? Or that the first JPEG — introduced in 1992 at USC — cribbed a Playboy centerfold nicknamed “Lenna,” which journalist and the author of the 2018 “Brotopia” Emily Chang called “tech’s original sin.”

The metaverse, web3 and AI — none of this is new, Seu said in her loft this past Saturday, hours before her West Coast debut at the Geffen Contemporary at MOCA. “But understanding the arc is helpful, especially how it’s tied to militaristic origins rooted in power, and how those same people were also confronted with sexuality.”

She’s just returned from a whirlwind tour — Antwerp, New York, Oslo, Madrid — with Tokyo next month. She splits her time between L.A. and Berlin, where her boyfriend lives, but for now, she’s staying put in what she calls her “bachelor pad on the set of a ‘90s erotic thriller,” inherited from a friend, the artist Isabelle Albuquerque.

The floor-to-ceiling windows high in a historic Brutalist artists’ complex overlook MacArthur Park and the downtown skyline. She’s offset the building’s cement with a childhood baby grand piano and her grandmother’s lacquer vanity with pearl inlay. That Seu marries the feminine and the spartan in her space feels intentional — a reflection of the dualities that animate her life and work.

“A Sexual History of the Internet” by Mindy Seu

(Photography by Tim Schutsky | Art direction by Laura Coombs)

Though she moved from New York three years ago, she resists calling herself an Angeleno — partly, she admits, because she never learned to drive despite growing up in Orange County. Her parents ran a flower shop after immigrating from South Korea. The household was conservative, Presbyterian and promoted abstinence. Like with many millennials, her sexual awakening unfolded online.

“I asked Jeeves how to have an orgasm,” she writes. “I sexted with classmates on AOL Instant Messenger. Any curiosities were saved until I could sneak onto my family’s shared ice blue iMac G3 in the living room.”

At 34, the very-online academic holds a master’s from Harvard’s Graduate School of Design and has taught at Rutgers and Yale before joining her alma mater, UCLA, as one of the youngest tenured professors (and perhaps the only one who has modeled for JW Anderson and Helmut Lang). Her first three years at UCLA have each had their crises — encampments, fires, ICE raids — yet her Gen Z students give her hope. “They’re so principled and motivated, even if it’s in a nihilistic way,” she said.

Online, fans declare their “brain crushes” on Seu, whose ultra-detailed spreadsheets have become unlikely catnip for TikTok. Vanity Fair dubbed her the rare cybernaut who “lands soft-focus photoshoots in niche lifestyle publications.” Her unusual power is the ability to move through different fields, Trojan-horsing her theories across academia, the art world, the lit scene, tech, fashion, et al. Seu’s notoriety continued to swell after appearing on the popular internet talk show “Subway Takes” with the standout zinger: “Gossip is socially useful, especially to women and the marginalized.”

“Mindy’s really good at bridging different audiences who might not read an academic text about the history of the internet but are interested in Mindy’s practice,” said Correa, Seu’s student-turned-collaborator. When the two workshopped their performance last year on their finsta (a.k.a. fake Instagram), they encountered one major hurdle: censorship. They had to get creative with their algospeak (like changing “sex” to “s*x”) to keep from getting banned.

Mindy Seu in her MacArthur Park loft.

(Carlin Stiehl / For The Times)

“A Sexual History of the Internet,” designed by Laura Coombs, carries that collaborative ethos into its financial structure. Seu’s first book went through traditional publishing, where authors often receive about 10% and contributors receive fixed fees. This time, she wanted a citation model that compensated the 46 thinkers who shaped her understanding of the subject.

She approached Yancey Strickler, director of Metalabel, “an indie record label for all forms of culture,” and co-founder of Kickstarter. Seu’s original proposal waived all profits to collaborators. “Everyone got paid but her,” Strickler said. If she wanted the model to be replicated, he told her, it needed a capitalist backbone.

They landed on Citational Splits, where everyone who was cited joined a 30% profits pool, in perpetuity, across future printings (27 opted in). The remaining 60% goes to Seu and five core collaborators. Strickler likened it to music royalties or company shares: “Your presence increases the project’s value, and some of that value should flow back to you.”

Neither can name a publishing precedent. “It shows a profound, practical morality that underlies her work,” he said.

At MOCA, about 300 Angelenos braved an atmospheric river to sit in the darkened former police car warehouse bathed in red light. No projector, no spotlight. A pair of Tabis winks at her all-black-clad friend; a couple holds hands as Seu moves through the room. (“I intentionally wear very noisy shoes,” she said earlier.)

With the calm cadence of a flight attendant, Sue instructs everyone to put their phones on Do Not Disturb, sound and brightness to max and open Instagram to find @asexualhistoryoftheinternet.

The audience reads in unison when their designated color appears. What follows is a chorus of anecdotes, artworks and historical fragments tracing the pervasive — and sometimes perverted — roots of our everyday technologies. Hearing men and women say “click and clitoris” together is its own spectacle.

“From personal websites to online communities, cryptocurrencies to AI, the internet has been built on the backs of unattributed sex workers,” one slide notes. Sex work has long been an early adopter of emerging technology — from VHS to the internet — and the present is no exception. Two years ago, OnlyFans creators made more money than the total NBA salary combined; today, the company now generates more revenue per employee than Apple or Nvidia.

Seu ends with the widely known dominatrix Mistress Harley’s concept of data domination, a subset of BDSM in which her “subs” (a.k.a. submissives) grant her remote access to their machines. Seu tells the crowd that she has essentially done the same, “viewing the voyeurs” and taking photos of us throughout the performance, which are already posted to Instagram.

We walk out into the dark rain, wondering what exactly we witnessed — and realizing, perhaps, we’ve been witnessing it all along.

In his riveting book “The Insider: Malcolm Cowley and the Triumph of American Literature,” veteran book editor Gerald Howard makes a strong claim for Cowley as a crucial catalyst for the efflorescence of American fiction in the years following World War I. He’s not wrong: Working as a critic, author, essayist and editor, Cowley often provided a lone voice in the wilderness for neglected masters.

As consulting editor for publishing house Viking Press in the ‘40s, Cowley resuscitated William Faulkner’s career at a time when most of his books were out of print. Cowley also ushered in Jack Kerouac’s seminal novel of the Beat Generation, “On the Road,” working for seven years to get it published and finally succeeding in doing so in 1957.

For this week’s newsletter, I spoke with Howard about Faulkner, Kerouac and the death of criticism.

✍️ Author Chat

Your book details Cowley’s seven–year odyssey to get Kerouac’s “On the Road” published in 1957 and point out that, contrary to Kerouac’s criticisms regarding the editing, Cowley, in fact, had nothing to do with changes that straightened out his prose.

Cowley took a lot of crap from the Kerouac crowd because Kerouac, in a drunken moment, blamed all his troubles with Viking on Cowley when Cowley was innocent. The Kerouac scholars and biographers don’t quite grasp that a good part of the editing job was assigned to other folks at Viking. They added all those commas in the manuscript that Kerouac was so upset about. Cowley was not an advocate of making big changes to the book; he thought Kerouac’s voice was so vital, so fresh.

Perhaps Cowley’s greatest contribution to 20th century American literature is his rehabilitation of Faulkner’s career at a time when all of his books were out of print. In 1944, he was down and out; six years later, he won the Nobel Prize. Cowley had a lot to do with that.

There was something going on in Europe at the time that was somewhat disconnected from what was going on in the United States. Faulkner’s reputation in France in particular was very high; Andre Gide and Sartre were admirers. But in the United States, Faulkner didn’t sell, he had a very mixed reputation, and he was not well understood. Cowley’s first intention was to write a very long essay about Faulkner’s work, which was serialized in various publications, and then to assemble “The Portable Faulkner” for Viking, which sold well. So the ground was prepared by Cowley.

Critics are “so central to a useful, fruitful culture. I myself don’t particularly care to live in a culture that doesn’t have them,” veteran editor Gerald Howard tells The Times.

(Penguin Random House)

What’s remarkable is the catholicity of Cowley’s taste. He studied Racine at Harvard, but then recognizes the greatness of a disparate group of writers: Faulkner, John Cheever, Kerouac, Ken Kesey, all of whom he shepherds into print.

He didn’t have a program or a thesis. He had taste. He was just a pure creature of literature, immensely versatile and conversant with everything that seemed to matter in the literary universe. Up until the ‘60s, he had his radar up and running. He didn’t believe in a fixed canon.

Cowley was an editor of the New Republic from 1929 to 1944, a small-circulation magazine with outsized influence, featuring critics like Edmund Wilson that generated the cultural conversation. Critics have no such sway anymore. Do you feel there has been something lost from that diminishment of the individual critical voice?

We can let all the online measurements determine the things that people like and allow those things to rise to the surface. But I think the role of the critic is to sort through a vast amount of material to find the things that are really valuable, really interesting. Not just books, of course — also movies, art, music. They’re so central to a useful, fruitful culture. I myself don’t particularly care to live in a culture that doesn’t have them.

Is a maverick editor like Malcolm Cowley possible now?

Probably not. The world that he moved in was a closed world. There wasn’t a lot of room for people who were not white, male and heterosexual. It’s disappointing that he was not more interested in African American literature. He should have been. There are plenty of those people around that he knew. And just appreciating Ralph Ellison was not enough.

(This Q&A was edited for length and clarity.)

📰 The Week(s) in Books

(Los Angeles Times photo illustration; Cover by Macmillan)

Robert Allen Papinchak was enthralled by Margaret Atwood’s memoir, “Book of Lives,” in which the author of “A Handmaid’s Tale” unpacks “the challenging symbiotic relationship between life and art.”

You may have seen the Netflix series about the “OneTaste” sex cult, but that’s not even the half of it, according to Ellen Huet’s book “Empire of Orgasm,” which Julia M. Klein calls a “deeply troubling” narrative of coercion and financial ruin.

Bad Religion guitarist and overall punk legend Brian Baker has a new book of photographs called “The Road,” and Josh Chesler chatted with him about it: “I think I have a knack for being at the right place at the right time.”

Photographer Annie Leibowitz has dropped a “stunning” new book of pictures called “Annie Leibowitz: Women,” according to Meredith Maran.

📖 Bookstore Faves

Arcana has served the L.A. market for over 40 years, currently occupying space in the Helms Bakery building in Culver City.

(Joshua White)

Given the vicissitudes of the retail book market, it’s a minor miracle that Arcana: Books on the Arts has survived 41 years. Arcana, which since 2012 has occupied space in the Helms Bakery building in Culver City after a long run at the Third Street Promenade, is the best art bookstore in L.A., offering a vast selection spanning photography, painting, fashion, graphic design and much more. I spoke with owner Lee Kaplan about what is hot in his store right now.

What books are selling right now?

We are closing in on the Holidays, so lots of great new titles are showing up daily. A small selection of those which are selling well include “Bruce Weber. My Education,” “Kerry James Marshall: The Histories,” “William Eggleston: The Last Dyes” and “Jane Birkin: Icon of Style.”

Is there any particular kind of book that tends to do well for you?

Perennials tend to be more comprehensive, hardbound volumes of well-known artists such as Edward Ruscha, Andy Warhol, John Baldessari and Jean-Michel Basquiat; photographers Robert Frank, Todd Hido, William Eggleston, Ed Templeton; architects Frank Gehry, Herzog & De Meuron, Johnston Marklee, and Fashion brands like Comme des Garcons, Supreme, Dior, etc. That noted, we sell a lot of inexpensive zines by creators few have heard of, yet.

Arcana has survived a lot of the ups and downs of the retail book business. What do you think is the secret to your longevity?

Moving to a large, beautifully designed space in Culver City’s Helms Bakery in 2012 (after decades on Santa Monica’s Third Street Promenade) turned out to be a fortunate decision. We have room for scores of thousands of books that we have amassed over the years situated in a lively, artistic and design-conscious neighborhood.

Given the internet, why do people still value looking at art in books?

These are two vastly different experiences, and for me, there is no substitute for holding a book as a tangible, tactile object. Thankfully, there are still many, many visitors daily that seem to feel the same.

Arcana: Books on the Arts is at 8675 Washington Blvd. in Culver City.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

AS the nights draw in and the festive season gets closer, many of us are looking forward hanging up some Christmas lights.

But it’s not just the halls that get decked.

Many gardens and unique spaces across the country transform into glimmering wonderlands – the perfect places to get in the festive spirit.

Here are 12 of the most magical light shows that are set to illuminate England with holiday cheer this winter.

Kew Gardens, London

Dates: November 14, 2025 – January 4, 2026 (selected dates)
Tickets: Adults £27.50, children £18, under 4s free

Year on year, the light trail at Kew Gardens is firm favourite of the seasonal calendar.

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Christmas at Kew is a true spectacle, illuminating the UNESCO World Heritage site with sustainable LED lights and installations by leading artists.

Visitors can enjoy projections and music dotted all around the natural space, including at iconic spots like the Palm House fountain.

The three kilometre trail has a range of entertainment beyond lighting too.

Spot Father Christmas on your walk and enjoy delicious treats from food stalls along the route.

Last entry is between 7-8pm and tickets are limited, so book while you can.

Longleat, Wiltshire

Dates: November 8, 2025 – January 11, 2026
Tickets: Adults £34.95, children £26.20, under 3s free

Longleat is usually famous for its drive-through safari park, but come Christmastime it is its light show that really shines.

The trail displays thousands of imaginative lanterns, this year celebrating the theme of British Icons.

Look out for Wallace & Gromit, various British singers and authors, and landmarks like Tower Bridge and Stonehenge all aglow.

A Twilight ticket will give you access to this Festival of Light plus the Enchanted Christmas Tree Show, but you can also upgrade to a Day ticket to include the safari or book a ride on the Santa Train as an add-on.

Dunham Massey, Cheshire

Dates: November 14, 2025 – January 3, 2026
Tickets: Adults £19, children £12.50, under 3s free

Just outside Manchester lie the stunning grounds of Dunham Massey, a Grade I listed building and National Trust property.

Its light show is an after-dark experience complete with sparkling trees and colourful, 5m-tall stars.

Expect an immersive evening of sights and sounds created by award-winning producers, and the option to enjoy the fairground for an extra charge.

Entry is timed, so securing a slot is advised.

Winter Glow, Worcestershire

Dates: November 21 – December 31, 2025
Tickets: Adults £12.50, children £6.50, under 3s free

Local craftspeople and lighting designers are behind the show at Winter Glow in the Worcestershire countryside.

The trail is transformed into a winter dreamland with twinkling bulbs and fairytale structures.

It’s a super accessible experience, with sensory-friendly trails available on selected dates, dog friendly sessions on offer and full wheelchair access.

Northern Lights, Newcastle

Dates: November 27 – December 31, 2025
Tickets: Adults £15, children £5, under 3s free

Winding along the mile-long path at Leazes Park in Newcastle-Upon-Tyne is fun for all the family.

Take in its 15 different illumination zones from Lantern Lane to the Butterfly Blizzard, and even a marshmallow roasting station.

More winter warmers are available from the park’s Christmas Village, access to which is included in the ticket price.

Blenheim Palace, Oxfordshire

Dates: November 14, 2025 – January 3, 2026
Tickets: Adults £24, children £18, under 3s free

This year, the illuminated trail at Blenheim Palace promises to be “bigger, better and brighter than ever before”.

The light show has already earned a place as one of the UK’s most popular trails.

Visitors can buy a combined ticket to access both the light trail and the palace or a ticket for the illuminations only.

Allow around an hour to explore the route, with extra time factored in to meet Father Christmas along the way or to stop at the chalet-style huts for tasty food and drink.

Helmingham Hall, Suffolk

Dates: November 14 – December 19, 2025
Tickets: Adults £20, children £10, under 2s free

Helmingham Hall’s gardens and parkland attract visitors all year round.

Where its flowers bloom in spring, lights glint in winter along the illuminated garden trail.

The mesmerising experience takes place after dusk, when you’ll cross a historic drawbridge and weave through shining walkways.

If that isn’t enough reason to go, grown-ups can enjoy a complimentary mulled wine with their ticket while kids can toast snacks at the firepits along the route.

And if you have a pooch, you can can bring them too.

Liverpool Cathedral, Liverpool

Dates: November 28 – December 6, 2025
Tickets: Adults £9.50, children £7.50, under 3s free

The Light Before Christmas comes to Liverpool Cathedral for a fourth year running, and attending the show has become a yuletide tradition in the city.

As they journey through the building, ticket-holders will find enchanting scenes ranging from the nativity to Santa’s reindeer, plus candlelit areas.

There are even bean bags to lie on to take in the acoustics of Britain’s biggest cathedral and marvel at the projections on the ceiling.

A visitor last year said: “It’s the perfect thing to get you in the mood for Christmas”, while another commented: “I come every year and it’s always beautiful.”

Kids are also big fans of the event, with one saying: “It was really Christmassy and magical.”

Hever Castle, Kent

Dates: November 21, 2025 – January 2, 2026
Tickets: Adults £24.50, children £16, under 5s free

Follow the yellow brick road to Hever Castle for a themed light extravaganza.

This year the castle will be decked out in all things Wizard of Oz.

From spotting the flying monkeys in the Christmas tree forest to arriving at the Emerald City as the castle glows bright green, it promises to be an other-worldly visit.

Hever has traditional Christmas offerings too, with log fires burning inside the beautifully decorated rooms of the castle and fairy lights glittering in the grounds.

And don’t worry – despite being in Oz and not Lapland, little ones will still be able to pay a visit Father Christmas’ grotto.

Fairground ride tickets are just £2 each and can be purchased on the day.

Stockeld Park, Yorkshire

Dates: November 22, 2025 – January 5, 2026
Tickets: Adults & children £17.50, under 2s free

The Enchanted Forest at Stockeld Park transforms for the Christmas season.

Its woodland boasts interactive adventure playgrounds as well as an enormous snowflake-shaped maze made from 2,000 trees and lined with glistening lights.

After getting lost in the maze – which is included in the ticket – you can stop by cosy cabins in the woods for a hot chocolate and explore animations and soundscapes further along the trail.

Light Up Trails, Hampshire

Dates: November 27, 2025 – January 3, 2026
Tickets: Adults £20, children £12.50, under 2s free

Nestled among the greenery between Winchester and Southampton you will find a dazzling light display with all the trimmings.

The trail is divided into eight zones, each one offering a different feast for the eyes.

Catch the fibre-optic flowers in the Bloom and Glow zone, golden lanterns at Step into the Magic and a laser show at The Rhythm of Light.

Halfway along the trail you can warm up at its ski-themed Christmas Village and indulge in food from bratwurst to crepes.

Ashridge House, Hertfordshire

Dates: November 27, 2025 – January 1, 2026
Tickets: Adults £23.50, children £14.40, under 4s free

Ashridge House was once a royal residence of King Henry III, and its grounds are referred to to by insiders as the ‘Garden of Gardens’.

The stately home puts on a proper show at Christmas, where gentle gleaming lights meet impressive pyrotechnics and festive music.

A 115ft Ferris wheel gives you sweeping views of the 190 acres of garden below – book this at the online checkout.

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On the ground, showstoppers include the star-shaped tunnel and giant bauble field.

Dog-friendly nights are on Wednesdays and Thursdays.

A GROOM en route to his £2,000 honeymoon has claimed he was banned from boarding an international flight because of a faint “stamp smudge” on his passport.

South Yorkshire newlyweds Josh, 31, and Eden Reekie’s plan to fly to Thailand in October was foiled when Etihad Airways staff flagged an issue with the pair’s travel documents.

The couple had booked a TUI holiday package to Phuket, forking out £2,400 to celebrate a second honeymoon after tying the knot in 2024.

Staff at the Etihad check-in desk at Manchester Airport “immediately” flagged an issue with both passports, making the couple wait.

After an anxiety-riddled 30 minutes, Eden’s passport was cleared, but Josh was told he would be unable to fly due to his passport being “water damaged”.

Josh said: “The duty manager started checking [the passports] and taking photos of them”.

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“No one told us anything about what was happening, she just turned around and said ‘I’m really sorry but you can’t fly’,” he said.

Ironically, the faint smudge on a 2019 Thai travel stamp left him unable to board the flight.

The revelation shocked the industrial electrician from Barnsley, who said he had used his passport for international travel 12 times this year without issue.

“I hadn’t long flown with that passport so I didn’t think there was anything wrong with it,” he said.

“I travelled 12 times in 11 months with that passport and had no issues.

“Fair enough there’s a smudged stamp, but who’s to say that didn’t happen when they stamped it and closed the passport.”

In a bid to get on their holiday, Josh and Eden scrambled to apply for a new passport; however, holiday provider TUI cancelled their return flight and accommodation.

“We were really looking forward to it,” Josh said.

“We went and stood outside and just didn’t know what to do.

“It’s a very surreal feeling walking into an airport then walking out of the departure lounge.”

With Josh able to get a new passport within two days, the dismayed couple coughed up more cash for a last-minute trip to Cyprus.

They have since demanded compensation from Etihad and TUI.

“I felt really disappointed because there was no empathy or remorse from Etihad Airways,” Josh said.

“I know they probably see it daily but people save up all year to go on holiday.

“We were stressed because of all the money we’d spent.”

Josh said he “couldn’t understand” how one airline staff member had total authority.

“For someone on the check-in desk to just say ‘you’re not going’,” he said.

“How [can] someone have that authority to refuse you and not be able to get a second opinion.

“If it was the picture page, I could understand it, but the fact it was the stamp page just annoyed me.”

Josh said they’d been left “gutted” and described the event as “soul destroying”.

“I just hope it doesn’t happen to anyone else,” he said.

“We’d like our money back. We’ve had no help from TUI or Etihad.”

In response, an Etihad spokesperson said Thailand‘s immigration authorities had advised airline staff “not to board the passenger based on the passport’s condition”.

“A passenger flying from Manchester to Phuket on October 7 was denied boarding due to visible water damage in their passport at the time of check-in,” the spokesperson said.

“Check-in staff therefore did not allow the passenger to board in compliance with regulatory guidance and destination entry requirements based on the condition of the passport at the time of travel.”

The spokesperson said “British passports must be machine-readable and fully intact, with no torn pages, water damage, delamination or illegible details, to comply with Thailand’s immigration policy”.

TUI has been contacted for comment.

Another newlywed recently suffered a honeymoon nightmare when her face collapsed after her trip was cancelled at the last minute.

Gail Morgan, 50, suffered a Bell’s Palsy attack, paralysing the muscles down one side of her face after the £6,000 cruise was postponed just prior to boarding – and then axed completely.

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Gail and new husband Pepe Davies, 53, from Wales, had flown out to Miami following their glam wedding only to be told the liner had suffered a “technical issue”.

Gail said “Celebrity Cruises didn’t even inform” the couple of the cancellation, however they were later issued a credit voucher, totalling £2,619.

Wiegman said she “can’t control” what Earps says or feels about her decisions but the England coach emphasised she made the decisions to give the side the best chance of success.

England take on China at Wembley Stadium on 29 November before hosting Ghana at St Mary’s Stadium on 2 December.

The media conference to announce her squad was dominated by questions about Earps and Wiegman joked it would be “nice to talk about football”.

The return of Manchester City forward Lauren Hemp and midfielder Grace Clinton are the headline stories in Wiegman’s 25-player squad for the friendly matches.

But former Netherlands coach Wiegman accepted that dealing with adversity is part of her high-profile role.

“Of course you hope that things are always positive but that’s not how things work in football when you’re so visible,” she said.

“It’s just the situation and you’re trying to deal with it in the best positive way, solve whatever needs to be solved, and move forward.

“I make decisions on what I think is the best for the team to compete in the next camp or the next tournament – and I make decisions to win.”

Wiegman was also asked if she was disappointed that Earps said her affinity to the Lionesses manager was “destroyed” and her “trust and respect was evaporating”.

“I don’t think I can change that. What I just try to be is as honest as possible and have a very good working relationship, which is what I think we had,” she added.

“I can’t control other things. I just stick with what I want to do, how I want to do it and try to be as clear and honest as possible to make decisions to win.

“I always keep conversations private. I share things here [in the media] but when I have individual conversations I keep that private as that builds trust.

“If I do that then players will come to me and have conversations with me. That’s my approach. We create an environment where we want people to be themselves.”

Chelsea goalkeeper Hampton is not in the squad for the final two England matches of the year after picking up a thigh injury.

The 24-year-old won the Yashin Trophy for best goalkeeper at this year’s Ballon d’Or awards, and was one of the standout performers at Euro 2025.

Wiegman confirmed she had spoken with Hampton following Earps’ book release but did not go into details on their conversations.

“I spoke to Hannah. I speak to players in between camps anyway. Unfortunately, she is injured now. But I did speak to her, yes,” added Wiegman.

“What the content of that conversation was, as always, I’ll keep private.”

As a guitarist, Brian Baker has punk rock and hardcore credentials that are unparalleled. From effectively launching “hardcore” as a genre with Minor Threat when he was a teenager to bringing in the more melodic side of the scene with Dag Nasty and then joining Bad Religion in the mid ’90s, it’s hard to argue that any guitarist has been more influential to their scene than Baker.

“I think I just have a knack for being at the right place at the right time,” Baker says when asked about his contributions to the aforementioned legendary bands. “The key is to respect that legacy and not f— it up. I understand it’s a big deal to a lot of people — much more than it is to me. I’m just the guy who’s playing guitar, but I’ve been fortunate enough to be in bands that have been foundational for a lot of people. I think about that when I get on stage every day. I want to do a great job every time. As long as I’m able to still deliver a performance that I have respect for, hopefully other people will too.”

Standing at a high-top table under a white awning backstage at Riot Fest (Chicago’s massive punk rock festival where most of the acts are either friends of Baker or inspired by one or more of his bands) after nearly a half-century of allegedly just happening upon one iconic band after another, Baker recently released a new project — one that he’s worked on for almost 20 years during his ongoing run with Bad Religion.

A shot of Baker’s guitars on a wood pallet.

(Brian Baker)

Every time the legendary Los Angeles punk band goes on the road, Baker (like most touring musicians) finds himself with entirely too much time to kill before and after their nightly performances. To fill those long hours in strange cities, the 60-year-old D.C. native often turns to the piece of technology that so many use to occupy their free time, his smartphone. But rather than mindlessly scrolling social media or watching YouTube videos, Baker discovered a new passion for photography, constantly using each and every camera lens on the iPhones that have been in his pocket since the original released in the late 2000s.

Until recently, the fruits of Baker’s photography hobby had effectively only existed on his personal Instagram. That was until things started falling into place (“Like many things in my career,” Baker says, consistent in his refusal to take credit for the majority of his successes) for him to release some of his favorite photos as a book, appropriately titled “The Road” (released Nov. 4 via Akashic Books).

A mug shot of Baker’s first band, D.C. hardcore pioneers Minor Threat.

(Brian Baker)

“My wife suggested for a long time that people might want to look at my photographs, and I was like ‘OK, that’s great,’ but never really thought about it,” Baker says, his bandmates and other longtime friends circulating through Chicago’s Douglass Park. “Eventually, a good friend of ours named Jennifer Sakai — who’s a great photographer and has made books in the past — made a mock-up from my Instagram of what a book could look like. I wasn’t looking to make a book, but she basically presented a finished product to me, so I contacted a guy I went to elementary school with, Johnny Temple — who plays [bass] in Girls Against Boys and Soulside and has a publishing company. Much like my more successful rock bands, I walked in after everyone did all the work, and now I’m just going to coattail it.”

With or without the new book, Baker says his time-killing love of photography was born out of the veteran guitarist feeling as though he was forgetting too much and missing some of his key memories from his time on tour. Once he gave up drinking, Baker realized that he needed a way to embrace the 20+ hours each day he wasn’t spending on the stage or getting ready. He started filling his days with long walks and visits to his favorite locales — old churches, interesting buildings, graveyards (“That’s not the goth in me saying this,” Baker jokes) and anywhere else where he entertain himself away from people. And rather than trying to tell the story of the last 18 years through his iPhone camera, he’s happy just documenting those certain moments and “a lot of different ways to spend your time” in “The Road.”

“I used to take a film camera on tour, and I’d shoot a couple rolls and then forget about the camera and leave it at the hotel or something,” Baker says. “I didn’t really do a good job of being a photographer, because I’m not a photographer. I’m just a guy with a cellphone, but having the phone always on me, I just kept taking pictures of stuff for no real reason. It was like ‘Hey, look at this weird thing’ or “Look what we ate tonight” or “That church is f— up” with no intention of it being a collection or anyone really seeing it beyond my friends and family. Eventually, I got an Instagram account and some of the stuff would go there, but I’m not really a social media maven either.”

Bad Religion bassist Jay Bentley playing a bass.

(Brian Baker)

Aside from his photography skills, the release of “The Road” has also allowed Baker to flex his storytelling muscles at the various bookstores, record shops and more that he’s hitting this fall (including early October dates at West Hollywood’s Book Soup and Fullerton’s Programme Skate & Sound). Although it’s a more intimate setting than he’s used to and he’s lacking his signature guitar, Baker jokes that it’s not so different from performing music, because he’s still “on a stage with a microphone and wearing black pants.”

The book tour has also been an opportunity for Baker to connect with fans and reflect on Bad Religion and his prior bands (along with various side projects like supergroup Fake Names and Beach Rats). While he maintains that his involvement in punk history mostly comes down to happenstance, he believes that Bad Religion’s multi-generational staying power stems from always being “uniquely unfashionable” and having intelligent lyrics about topics that are still relevant. Add in the fact that they’re always improving as musicians and just enjoy getting together without looking at the bigger picture, and “not having a plan has proven to be effective” for the stalwarts.

Photo of Baker’s first amp and guitar

(Brian Baker)

But more than anything, Baker’s lack of planning or direction around his photography brings him back to the DIY nature of his early days creating albums that are now viewed as the very foundation of a four-decade-old global hardcore movement.

“Anybody can do this, so it does remind me of making records when I was very young,” Baker says. “We were just making our own records ourselves and selling them in high school, and that was Minor Threat. You think about how significant that is now, 45 years later, it’s the same thing with taking pictures. I just took a bunch of pictures, and now someone’s made a book out of them. It’s something you can do yourself, and I love that about it.”

Portugal recovered from a shock loss to Ireland on Thursday to qualify, while Norway is through for the first time since 1998.

Portugal booked their ticket to the 2026 World Cup with a 9-1 victory over Armenia on Sunday, while an Erling Haaland brace rubber-stamped Norway’s place in the global showpiece as they romped to a 4-1 win in Italy.

After being held by Hungary and then stunned by the Republic of Ireland last time out, Portugal sealed top spot in Group F at the third time of asking with a resounding win over bottom-side Armenia.

In the absence of the suspended Cristiano Ronaldo, star midfielders Bruno Fernandes and Joao Neves both scored hat-tricks as the Portuguese ran riot in Porto.

Renato Veiga, Goncalo Ramos and Francisco Conceicao were also on the scoresheet.

“The most important thing was qualifying for the World Cup,” Paris Saint-Germain linchpin Neves told RTP.

“For me, as I always say, the team always comes before the individual. I’m very happy to have scored my first goal for the national team, and my second and third as well.”

Portugal will compete in a seventh consecutive edition of the World Cup, a tournament which the Euro 2016 champions have yet to win.

“We’re at the World Cup! Let’s go, Portugal!” Ronaldo posted on social media.

The striker could miss the start of the tournament depending on whether FIFA extend his suspension beyond the mandatory one-match ban he served against Armenia.

Ireland sewed up the playoff place in the group thanks to Troy Parrott’s 96th-minute hat-trick goal, handing them a 3-2 win over third-placed Hungary.

Daniel Lukacs gave the hosts the lead in Hungary after four minutes, before Parrott levelled from 12 yards shortly afterwards.

Barnabas Varga’s 37th-minute goal looked to have been enough for Hungary to seal second spot until 23-year-old Parrott notched his fourth and fifth international goals this week.

Parrott was the hero with his brace in Thursday’s 2-0 defeat of Portugal, and he struck to equalise again for Ireland with 10 minutes remaining in the Hungarian capital.

The AZ Alkmaar forward then sparked wild Irish celebrations as he prodded home Liam Scales’s knockdown deep into injury time to send Heimir Hallgrimsson’s side into March’s playoffs.

‘Absolutely insane’

Italy needed a miracle in Milan to pip Norway to first place in Group I due to the visitors’ gargantuan goal difference advantage.

Pio Esposito scored early at the San Siro to give the home side the faintest of hopes, but they were unable to again break down stubborn Norwegian defending as Stale Solbakken’s side held firm.

Antonio Nusa levelled just after the hour before Haaland, inevitably, netted twice in 60 seconds to turn the tie on its head. Jorgen Strand Larsen then put gloss on the result in injury time as Norway romped to an eighth win from eight outings.

It will be Norway’s first appearance at the World Cup in 28 years.

“I’m happy, but more relieved. There’s a lot of pressure and stuff, and I feel it. But it’s fun,” Haaland, who netted 16 goals across the campaign, told TV 2.

“It’s indescribable. Absolutely insane. The way we did it is absolutely incredible. It’s huge,” Martin Odegaard said.

Israel beat Moldova 4-1 but finished six points adrift of second-placed Italy, who go into the playoffs.

France booked their place in next year’s tournament in North America with a win over Ukraine earlier in the week, and a much-changed side concluded their campaign with a 3-1 win in Azerbaijan.

Ukraine saw off Iceland 2-0 thanks to two strikes inside the final 10 minutes from Oleksandr Zubkov and Oleksii Hutsuliak to claim second place in Group D.

Thomas Tuchel’s England completed a perfect group-stage performance as they won 2-0 against Albania to finish their campaign with a 100 percent record, featuring 22 goals scored and zero conceded – a European record for a team playing at least six qualifying matches.

“I think it’s as good [a squad] as we’ve ever had,” Harry Kane, who scored both England goals, told ITV.

“I think when you look at the starting 11, you look at the players coming off the bench, we’re going to go into the tournament as one of the favourites.”

With Albania already assured of second place, Serbia beat Latvia 2-1 in a dead-rubber in Group K’s other match.

Annie Leibovitz strides onto the Wiltern stage to the thunderous cheers of 1,500 mostly female fans. She takes her place at the podium, a small, casually dressed figure on a big stage. On the screen behind her are images of the matching covers of her new two-book set, “Annie Leibovitz: Women.” Volume 1 is her 1999 collection. Volume 2 has 100 new photos captured in the 25 years since. Taken together, the slipcased set zooms in on the past quarter century of American womankind, rendered in 250 images of dancers, actors, astronauts, artists, politicians, farmers, writers, CEOs, philanthropists, soldiers, musicians, athletes, socialites and scientists.

“The book was Susan’s idea,” Leibovitz says on Tuesday, referring to writer Susan Sontag, her partner until Sontag’s death in 2004. “I thought doing a photo book about women was a bad idea, like going out and photographing the ocean. But then I heard what Hillary Clinton said at the U.N. Conference on Women in 1995 — ‘Women’s rights are human rights, and human rights are women’s rights’ — and I reconsidered.” Applause shakes the Wiltern rafters.

An image from Volume 2 appears, featuring a somber-looking Sontag. “This is the last formal portrait of Susan,” Leibovitz says. “You could think she’s projecting a sense of strength, but really, she was mad at me for making her go outside to take the picture.” The crowd roars with laughter.

Think of Leibovitz, and some legendary photographs spring to mind. Whoopi Goldberg submerged in a milk-filled bathtub on the cover of Vanity Fair, July 1984. Also on VF covers: Michael Jackson, fittingly clothed and shot in black-and-white, in 1989. Demi Moore, fully pregnant and fully naked, two years later. But the photo that remains Leibovitz’s most iconic to date is the January 1981 cover of Rolling Stone featuring a nude, fetal John Lennon wrapped around Yoko Ono. “John showed up naked,” Leibovitz tells the audience. “Yoko wanted to wear clothes, so she’s fully dressed.” Leibovitz took the Polaroid on Dec. 8, 1980 — a few steps away from, and a few hours before, Lennon was shot and killed by former fan Mark David Chapman.

Joan Baez in Woodside, Calif., in 2007, from “Annie Leibovitz: Women.”

(Annie Leibovitz)

In Volume 2, we find a barefoot Joan Baez sitting in a tree strumming her guitar; a pregnant Rihanna draped in jewels and fur; Billie Eilish dreaming over a journal with pencil in hand; Shonda Rhimes with her feet up on a desk as massive as her oeuvre; and an uninhibited Michelle Obama as we’ve never seen her before: chin raised, eyes closed, hair tossed back, T-shirt and jeans parted to reveal her midriff. “I was in shock,” Leibovitz says. “But the first lady’s assistant was standing next to me, shouting, ‘That’s my first lady!’”

Familiar faces dominate, but woven between them are portraits of “regular” American women. A botanist precedes Oprah Winfrey, a philanthropist and a rabbi surround the founder of a Skid Row nonprofit, the reproductive rights activists of Moms Demand Action share space with a nude Lady Gaga. “I told her to bring a slip,” Leibovitz comments. “I’d rather people keep their clothes on at this point in my life.”

Volume 2 includes one essay each from activist Gloria Steinem, Nigerian writer Chimamanda Ngozi Adichie and Leibovitz herself. Steinem writes, “This book will help us to discover our adventurous true selves. … We are atoms whirling in place, affected by and affecting those near and far from where we are.”

Adichie agrees. “Taken as a whole,” she writes, “these photographs create a deeply moving experience, they refute the singular lens, they revel in plurality’s power, and because of — or perhaps in spite of — their wide range, they are infused with a spirit that is communal, collective, even unifying — and ultimately hopeful.”

Leibovitz concludes the second book. “For this volume I thought about issues that are important today,” she writes. In 2016, when she was beginning work on Volume 2, the notoriously cloistered Leibovitz told a New York Times reporter about the nationwide “talking circles” she and Steinem had organized, in which women shared their experiences with issues including sexual violence, technology and human rights. “Talking in groups like that, it brings me to tears,” Leibovitz told the reporter, adding that the new work she was making for Volume 2 was more “democratic.” Volume 2 is indeed more diverse, possibly in response to a widely discussed critique of Leibovitz’s photographs of Black women.

No celebrity survives fame without acquiring a layer or two of tarnish. In the decades between Volumes 1 and 2, Leibovitz’s representations of Black women painted Leibovitz with hers. A 2022 Guardian story was headlined, “Annie Leibovitz proves yet again: she can’t photograph Black women.”

“Leibovitz’s photographs are what happens when Blackness is seen through a white gaze incapable of capturing its true beauty,” contributor Tayo Bero wrote, referring to a list of Leibovitz subjects including Simone Biles, Viola Davis, Serena Williams and Rihanna. Bero wrote, “In all cases, she manages to make her subjects look dull, ashy, pained and sad, a far cry from the lively and graceful people that they usually are.”

Bero and others particularly criticized an image Leibovitz made for Vogue, depicting Supreme Court Justice Ketanji Brown Jackson at the Lincoln Memorial. In the photo, the snow-white marble statue takes center stage, overlooking Brown Jackson on the lower left. At the Wiltern, when that image appears, Leibovitz speaks of her own experience shooting it, not the controversy surrounding its publication. “I was skeptical about that idea,” Leibovitz says. “But she walked into the rotunda and she started reading Lincoln’s words that are engraved into the wall. It was such a moving moment.”

Two years later, the controversy was reawakened by Leibovitz’s depictions of Zendaya, also in Vogue. An April 2024 piece on the website Screenshot Media reiterated the photos’ failure to accurately reflect “the beauty of melanated skin tones, with poor lighting that often results in lackluster portrayals.”

In her introductory essay to Volume 2, Adichie, on the other hand, praises Leibovitz’s sensitivity. “The first time Annie photographed me, more than ten years ago at my home, she sensed my discomfort right away and knew it was not merely about my general awkwardness with being photographed. It was specifically about my belly, which was newly postpartum, although I would probably still have worried even if it wasn’t. … Annie’s sanguine reaction was a relief. There was no divisiveness, no judgment.”

Rihanna at the Ritz Hotel, Paris, in 2022, from “Annie Leibovitz: Women.”

(Annie Leibovitz)

Leibovitz, her representatives and her publisher, Phaidon Press, declined to comment on the critique. In an email interview with Phaidon Vice President Deborah Aaronson, who worked on four Leibovitz titles, Aaronson said, “‘Women’ reaffirms Annie Leibovitz’s place in the photographic canon. In the ‘Women’ series, she captures a breadth of experience and people who live and work in different spheres that’s unparallelled. I believe the series makes her the most important chronicler of women over the past 50 years.”

Annie Leibovitz entered the San Francisco Art Institute at 22, intending to be a painter. But a night photography class she took on a whim changed her medium, and her life. While still a student, manifesting the confidence that would characterize her career, Leibovitz pitched a Lennon shoot to Rolling Stone. Three years later, rendered immortal as the final photographer of Lennon and Ono, Leibovitz became Rolling Stone’s chief photographer.

In 1983, Leibovitz joined the staff of Vanity Fair, where her field of exploration, and her social sphere, expanded to include actors, athletes and politicians. In 1991, she became the first woman to have a solo show at the National Portrait Gallery in Washington, D.C. She was designated a Library of Congress Living Legend in 2000.

In 2001, at age 52, Leibovitz gave birth to her first daughter, Sarah Cameron Leibovitz. Sontag was at her bedside. In May 2005, via surrogate, Leibovitz became the mother of twin daughters, Susan (named for her beloved painter sister) and Samuelle. In 2009, Leibovitz was commissioned to make the official portrait of the first family — President Barack Obama; his wife, Michelle; and their daughters, Sasha and Malia — continuing the relationship that began in 2004 when she photographed Obama in his run for the U.S. Senate.

“I want to photograph the White House,” Leibovitz says, “but I don’t think there will be much of it left when I get to it.” The evening ended as it began: with the enthusiastic applause of her audience.

Nearly a decade after his 2016 novel, “All That Man Is,” was passed over for the Booker Prize, David Szalay has taken home gold with his latest work, “Flesh.”

“Flesh,” Szalay’s sixth novel, follows István, a socially isolated Hungarian teen who through circumstances beyond his control is thrust into London’s upper echelon. In the coming decades, he finds himself caught between his traumatic past and growing appetite for prestige. Szalay is the first Hungarian British writer to receive the prestigious award, which he accepted at Monday’s ceremony in London with visible surprise.

“I felt ‘Flesh’ is quite a risky novel, a risky book. It felt risky to me writing it,” Szalay said in his acceptance speech.

“I think it’s very important that the publisher — the novel-making community, if I can put it like that — embraces that sense of risk rather than shuns it,” he said.

In the judges’ view, Szalay’s risks more than paid off, yielding an “extraordinary, singular novel.”

“The judges discussed the six books on the shortlist for more than five hours,” said Roddy Doyle, chair of the judging panel. “The book we kept coming back to, the one that stood out from the other great novels, was ‘Flesh’ — because of its singularity.”

“We had never read anything quite like it. It is, in many ways, a dark book but it is a joy to read,” he said.

Despite chronicling decades of István’s life, “Flesh,” through narrative omissions, leaves readers with an inscrutable protagonist they nonetheless remain deeply invested in.

“I don’t think I’ve read a novel that uses the white space on the page so well,” Doyle said, adding that in “Flesh,” “Every word matters; the spaces between the words matter.”

The Booker Prize is an annual award given to the best English-language novel published in the United Kingdom and Ireland.

“Flesh” triumphed over five other shortlisted books: Kiran Desai’s “The Loneliness of Sonia and Sunny,” Andrew Miller’s “The Land in Winter,” Susan Choi’s “Flashlight,” Katie Kitamura’s “Audition” and Ben Markovits’ “The Rest of Our Lives.”

“Flesh” has also received praise from writer Zadie Smith and singer Dua Lipa, who selected the novel for her Service95 Book Club.

“I don’t think I’ve ever encountered a character who has so little to say as István and yet by the end of it I cared about him so deeply,” Lipa told Szalay in an October interview at the New York Public Library.

During their conversation, Szalay shared that while “Flesh” was the file name for the book on his computer, he never expected it to get to the final press.

Yet his team couldn’t think of another title more fitting for the novel.

“The kind of slight unease that I think it provokes, that sense of tawdriness, I think that they really fit the book, ultimately,” Szalay said.

While the New Year is a peak time for booking summer holidays, especially for families looking to jet away outside of term time, here’s why I tend to be an early bird booker in November

The promise of a summer holiday is often the thing that gets you through the post-Christmas slump. And holiday companies certainly know this. While you’re finishing your turkey sandwich and fighting festive hangovers, there are two adverts you’ll see a lot of; sofa sales and holidays.

As a travel journalist, I take a lot of last-minute breaks, but as a busy mum when it comes to booking my own holidays, I like to be organised. This means that before I’ve put the tree up I’ve often got my summer holiday booked, and November can be an excellent time to start browsing travel sites.

Here are some of the reasons why I’m already thinking about my summer holidays this month and will likely be booking in the next couple of weeks.

1. Yes, there are some great deals

While travel companies do offer sales in January and February, November is a quiet month for bookings for travel companies, which means there are often flash sales and deals going on that aren’t as heavily promoted, but can still save you a lot of money.

Of course, the big one in November is Black Friday. At the time of writing, many of the major operators were still keeping their deals under wraps, although Jet2 currently have 20% off flights and £100 per person off all holidays.

Black Friday is officially on November 28, but in my experience, most travel companies will launch their offerings before then. If there’s a particular tour operator, airline, or cruise provider you’re interested in, sign up for their newsletter now. Some of them will give early access to deals, and you can always unsubscribe later.

2. Availability is better

Most airlines and accommodation providers will have released their 2026 summer availability by now for early bird bookers. If you’re looking for a very specific destination or holiday type, for example a certain cabin type on a cruise or a sea view apartment in your favourite resort, then you’ve got a better chance of nabbing it now before the New Year rush.

As someone who once endured an overnight ferry to France in a reclining seat because I booked too late and there were no cabins left, I always try to get bookings locked in as soon as I know the dates I want. Car hire is another one that tends to be better booked in advance, especially if you’re visiting a small Spanish or Greek island, as they’ll often have limited vehicles available.

3. It’s easier to budget

As a parent whose family holiday dates are restricted to half terms and those dreaded six weeks of summer, I’m well aware how expensive it can be to even get a few nights in a caravan during peak times. That’s why I like to take advantage of interest-free options for spreading the cost, so I can budget monthly and get the holiday paid off before I go.

TUI, for example, offer zero deposit options, with the cost of the holiday paid in instalments via direct debit. The last payment is made eight weeks before your holiday, so if you book earlier, you can spread it in smaller instalments which I find much less painful than paying in one go.

Some UK holiday providers offer the same such Haven offer low deposits of £30 and a variety of payment options to help you budget.

Always make sure you can afford the monthly payments, as missing one could mean your holiday ends up getting cancelled with any payments lost. Read any terms and conditions carefully. Make sure there’s no interest being added and avoid options like credit cards and pay later providers who can add massive fees.

4. You can lock down popular annual leave dates

If you’ve ever worked in a team with other parents, you’ll know there can be a battle to get weeks off at certain times of year. Even if you aren’t booking your holiday yet, it’s worth getting those annual leave requests in. Of course, never book a holiday before you’ve had your annual leave approved.

5. Enjoy the holiday excitement for longer

Christmas can be a stressful time, so it’s nice to have something to look forward to. I appreciate it’s not the same for everyone, but I really love the countdown to my big holiday. It gives me plenty of time to look for local attractions I want to visit, and even start shopping for holiday clothes.

Admittedly, early booking isn’t for everyone, some people love to be spontaneous. But if you’re already dreaming of jetting off in summer it may be a good time to see what the tour operators have to offer.

Have a story you want to share? Email us at [email protected].

On Aug. 12, 2022, Salman Rushdie was stabbed 15 times just as he was about to give a public lecture at the Chautauqua Institution in New York. Gravely wounded, Rushdie lost sight in his right eye. The following spring, he published “Knife: Meditations After an Attempted Murder,” which became a bestseller. His new book, “The Eleventh Hour: A Quintet of Stories,” is his first work of fiction since the attack that nearly killed him.

A showcase for his dynamic range, the book careens from social critique to ghost stories and dream-like fables. On a recent Zoom call, the writer discussed the consolations of fiction, Franz Kafka and the moral rot of the gilded class.

✍️ Author Chat

This is the first fiction you’ve written since “Knife.” How did you get that part of your creative brain going again?

I’m so happy to have fiction to talk about again! The attack kind of stopped the fiction juices from flowing. It’s as if my mind wouldn’t look back into the world of the imagination. But the moment I finished “Knife,” even before it came out, I was suddenly thinking about fiction again. It was as if by magic, I had to somehow sweep that subject away — out of the front of my mind, into the back of my mind — in order to let other stuff come in.

So you’re thrilled to be writing fiction again.

Yes. Memoir was never a form that attracted me. I don’t particularly want to write about myself.

Were all the stories in the new book written after the knife attack?

The two stores which bookend the collection were written earlier, although I did revise them. The first story I wrote for the book was “Late,” which is the first ghost story I’ve ever written.

“The Eleventh Hour: A Quintet of Stories” by Salman Rushdie.

(Random House)

That is actually astonishing to me. You have had elements of the supernatural and fantasy in your fiction, but not specifically a ghost story?

I’ve had that, but I haven’t had a ghost as a hero. And I must say, it became incredibly enjoyable to write.

I’d always wanted to write something arising out of my time at Cambridge, but I’d never really found a story. Then I had this idea of an encounter between this older academic and this young Indian woman who made friends because of their mutual love of India. When I sat down to write it, I found myself killing him. It took me completely by surprise. And the story became something else entirely.

There is in a few of these stories the character of the old don, the wizened, sage academic. Were these characters based on gray eminences you may have encountered at Cambridge?

I was lucky that my time at King’s College overlapped just a little bit with the great E.M. Forster. He was almost 90 and I was 19, but he was very approachable. He liked students to approach him and have a conversation. He would sometimes come and sit in the student common room with a little glass of beer and a little kind of flat cap. And when he discovered that I had a background in India, he became extra chatty because India had, of course, been unbelievably important to him in his life.

“Oklahoma” is perhaps the most dream-like story in the collection, about a young man searching for an older man, a famous writer, who has disappeared. It’s a dense piece, with a distinct Kafka influence.

There was an extraordinary exhibition at the Morgan Library here in Manhattan, of the manuscripts of Kafka. They had “The Trial,” “The Castle” and “Amerika,” an unfinished novel whose original title was “The Man Who Disappeared.” And that stuck with me. So I found myself writing a story in which Kafka makes a guest appearance, but it’s basically in the end about two men who disappear. “Oklahoma” is taken from “Amerika,” but Kafka never set foot in America, of course. It’s an Oklahoma of the mind and spirit, the place where you find satisfaction and fulfillment.

In “The Musician of Kahani,” about a marriage between a middle-class pianist and wealthy playboy, it feels like you are describing this new class of what you refer to as the “rich-rich,” the new vulgarian wealthy class. In the past, rich people were associated with glamour, but now it feels like a kind of boorish narcissism.

Yes, in the past, there was a kind of Gatsby-level glamour attached to the wealthy. One of the things that used to be the case in India after independence is that Gandhian ideas were very prominent. Indian weddings tended to be quite modest affairs. There was a Gandhian idea that you don’t flaunt your wealth. Well, that’s gone out the window, right? All the Gandhian notions are very much out of favor in India now. This has resulted in fantastically flamboyant weddings. And when you get to this level of the ultra-rich, there is a kind of surrealism on display.

Do you read much contemporary fiction?

I’m a huge admirer of Toni Morrison, if that’s contemporary enough. I’m also very keen on James McBride, especially “The Good Lord Bird” and “The Heaven and Earth Grocery Store,” for the range, the detail and the comedy in his writing, which is profound. I read two 700 page books this summer: Kiran Desai’s “The Loneliness of Sonia and Sunny” — which took her 19 years to write and I think is a kind of masterpiece — and Nicholas Boggs’ biography of James Baldwin, which I loved.

(This Q&A has been edited for length and clarity.)

📰 The Week(s) in Books

“She comes across as preaching to her peers rather than seeking converts,” Hamilton Cain writes of Smith’s new book.

(Jay L. Clendenin / Los Angeles Times)

Patti Smith’s new memoir, “Bread of Angels,” is “mesmerizing,” Leigh Haber writes for The Times. The book “deepens the mystery of who this iconic artist is and where her singular vision originated.”

Susan Straight’s new novel “Sacrament,” about a clutch of ICU nurses battling COVID in a San Bernardino hospital, “broadens the reader’s understanding of community beyond flesh-and-blood friends, family and neighbors,” according to Merdith Maran. “The love and care that flow within her community of characters draws the reader into their bright, tight circle, making the characters’ loved ones and troubles feel like the reader’s own.”

Robert Dowling’s new biography of actor and playwright Sam Shepard “expertly untangles the history of a man who contained multitudes,” writes Mark Athitakis.

Hamilton Cain has mixed emotions about Zadie Smith’s new collection of essays, “Dead and Alive,” writing that “the book’s finest pieces wrangle, in elegant prose, with humanity’s contradictions,” but “the weaker ones indulge in name-dropping, footnotes and op-ed invective.”

📖 Bookstore Faves

Zibby’s Bookshop is on Montana Avenue in Santa Monica.

(Courtesy of Zibby Media)

In the two years since Zibby Owens opened Zibby’s Bookshop, the Santa Monica store has become a vital hub for booklovers on the Westside who are drawn to the quaint, well-curated selection of books and the numerous events that take place throughout the year. I asked Zibby’s store manager Kartina Leno to tell us what book buyers are scooping up.

What’s selling right now?

Our customers are loving memoirs. “They All Came to Barneys” by Gene Pressman and “I Regret Almost Everything” by Keith McNally are flying off our shelves. By far the biggest fiction seller all year has been “The Wedding People” by Allison Espach. It’s smart, funny, and has a beautiful message.

How does the store foster a community of readers?

Our author events are such a place of community and comradeship to our customers. We have anywhere from three to five per week, and they feel like such a safe and welcoming space. We also offer a once-a-month book club that meets in person and also sees a great turnout. We have people who’ve been coming now for almost three years!

What genres have readers excited right now?

Our customers love a good cozy mystery and we’re still selling tons of “The Thursday Murder Club” by Richard Osman and “Everyone in My Family has Killed Someone” by Benjamin Stevenson. The romantasy bug has also been going around, so we make sure to have plenty of copies of Sarah J. Maas in stock.

Zibby’s Bookshop is at 1113 Montana Ave. in Santa Monica.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

If our waking hours are a canvas, the art is how one fills it: tightly packed, loosely, a little of both. At a time when they were both 40 and the art scene in ’70s New York was in thrall to street-centered youth of all stripes, real-life writer Linda Rosenkrantz asked her close friend, photographer Peter Hujar, to make a record of his activities on one day — Dec. 18, 1974 — and then narrate those details into her tape recorder the following day at her apartment.

The goal was a book about the great mundane, the stuff of life as experienced by her talented confidants. In Hujar’s case, an uncannily observant queer artist and key gay liberation figure planning his first book, what emerged was a wry narrative of phone calls (Susan Sontag), freelancing woes (is this gig going to pay?), celebrity encounters (he does an Allen Ginsberg shoot for the New York Times) and chance meetings (some guy waiting for food at the Chinese restaurant). The Hujar transcript, recovered in 2019 sans the tape, was ultimately published as “Peter Hujar’s Day.”

Now director Ira Sachs, who came across the text while filming his previous movie “Passages,” has given this quietly mesmerizing, diaristic conversation cinematic life as a filmed performance of sorts, with “Passages” star Ben Whishaw perfectly cast as Hujar and Rebecca Hall filling out the room tone as Rosenkrantz. (They also go to the roof a couple of times, which offers enough of an exterior visual to remind us that New York is the third character getting the time-capsule treatment.)

From the whistle of a tea kettle in the daylight as Hujar amusingly feels out from Rosenkrantz what’s required of him, to twilight’s more honest self-assessments and a supine cuddle between friends who’ve spent many hours together, “Peter Hujar’s Day” captures something beautifully distilled about human experience and the comfort of others. For each of us, any given day — maybe especially a day devoid of the extraordinary — is the culmination of all we’ve been and whatever we might hope to be. That makes for a stealthy significance considering that Hujar would only live another 13 years, succumbing to AIDS-related complications in 1987. It was a loss of mentorship, aesthetic brilliance and camaraderie felt throughout the art world.

Apart from not explaining Hujar for us (nor explaining his many name drops), Sachs also doesn’t hide the meta-ness of his concept, occasionally offering glimpses of a clapperboard or the crew, or letting us hear sound blips as it appears a reel is ending. There are jump cuts too, and interludes of his actors in close-up that could be color screen tests or just a nod to Hujar’s aptitude for portraits. It’s playful but never too obtrusive, approaching an idea of how art and movies play with time and can conjure their own reality.

The simple, sparsely elegant split-level apartment creates the right authenticity for Alex Ashe’s textured 16mm cinematography. The interior play of light from day to night across Whishaw and Hall’s faces is its own dramatic arc as Hujar’s details become an intimate testimony of humor, rigor and reflection. It’s not meant to be entirely Whishaw’s show, either: As justly compelling as he is, Hall makes the act of listening (and occasionally commenting or teasing) a steady, enveloping warmth. The result is a window into the pleasures of friendship and those days when the minutiae of your loved ones seems like the stuff that true connection is built on.

For a historian who writes about war, Rick Atkinson is surprisingly optimistic. The Pulitzer Prize-winning author and former journalist — who recently released the second volume in a trilogy of books about the American Revolution — believes that the bedrock of American democracy is solid enough to withstand any assaults on its founding principles.

As the guest of honor at a Sunday night dinner sponsored by the Library Foundation of Los Angeles as part of its biennial Literary Feasts fundraiser, Atkinson was the most upbeat person at the event, which took place just before Election Day. Speaking to about 18 guests gathered around two circular tables carefully laid out on the back patio at the home of fellow writers and hosts Meenakshi and Liaquat Ahamed, Atkinson buoyed the flagging spirits of those certain that the country was currently dangling on the precipice of disaster at the hands of the Trump administration.

Book lovers attend a Literary Feast dinner featuring Pulitzer Prize-winning historian Rick Atkinson at the home of writers Meenakshi and Liaquat Ahamed.

(Jason Armond / Los Angeles Times)

“We’re the beneficiaries of an enlightened political heritage handed down to us from that founding generation, and it includes strictures on how to divide power and keep it from concentrating in the hands of authoritarians who think primarily of themselves,” Atkinson said with the cheery aplomb of a man who has spent the bulk of his time burrowing deep inside archives filled with harrowing stories of the darkest days the world has ever seen. “We can’t let that slip away. We can’t allow it to be taken away, and we can’t allow ourselves to forget the hundreds of thousands who’ve given their lives to affirm and sustain it over the past 250 years.”

The questions and conversation that followed Atkinson’s rousing speech about the history of the Revolution — including riveting details about key players like George Washington who Atkinson noted had “remarkably dead eyes” in order to not give away a scintilla of his inner life to curious onlookers — was what the evening’s book-loving guests had come for.

“We’re the beneficiaries of an enlightened political heritage handed down to us from that founding generation,” said Rick Atkinson.

(Jason Armond / Los Angeles Times)

A total of 40 authors are hosted at salon-style events at 40 houses with more than 750 guests over the course of a single evening, raising more than $2 million for the Library Foundation, which is a separate entity from the public library. Founded in 1992 in the wake of the devastating 1986 fire at downtown’s Central Library, which destroyed more than 400,000 books, the foundation seeks to continue the community-driven mission of the library when funding runs short, including supporting adult education, early literacy programs for children, and services for immigrants and the unhoused.

“I often describe it as the dream-fueling work, the life-changing work,” said Stacy Lieberman, the Library Foundation’s president and chief executive. “Because it’s a lot of the one-on-one support that people will get.”

The Foundation typically raises about $7 million to $8 million a year, with an operating budget of nearly $11 million, so money raised through the Literary Feasts is a significant slice of the funding pie. The feasts began in 1997 and have continued apace every other year since then, featuring a who’s who of literary accomplishment across every genre. Writers past and present include Sue Grafton, Jane Fonda, Ann Patchett, Viet Thanh Nguyen, Abraham Verghese, Scott Turow and Michael Connelly.

Dinner hosts fund the events themselves — no small outlay considering the lavish offerings.

Guests were served steak with roasted carrots, turnips and potatoes.

(Jason Armond / Los Angeles Times)

The Ahameds delighted guests with a tangy grapefruit and greens salad, followed by tender steak with roasted carrots, turnips and potatoes; a dessert of hot apple tart à la mode drizzled with caramel sauce; and plenty of crisp red and white wine. Both hosts are literary luminaries in their own right: Liaquat, a former investment manager, won the 2010 Pulitzer Prize for history for his book “Lords of Finance: The Bankers Who Broke the World” and Meenakshi recently published “Indian Genius: The Meteoric Rise of Indians in America.”

The couple travels in bookish circles and enjoys hosting salons at their home, including one earlier this year in support of New Yorker political columnist Susan Glasser and her husband, New York Times chief White House correspondent Peter Baker. As friends of Atkinson, the Ahameds did their part to introduce him, and later tried their best to entice him to stop taking questions and eat his dinner.

The guest of honor could not be persuaded. There was too much to say. “The Fate of the Day,” which explores the bloody middle years of the Revolution from 1777 to 1780, was released in April, and Atkinson has spent the past eight months touring and speaking on panels with documentarian Ken Burns to promote Burns’ six-part documentary series “The American Revolution,” which premieres Nov. 16 on PBS.

Atkinson is a featured speaker in the series and has been involved with it for about four years.

The dinner featuring Rick Atkinson was one of 40 taking place across town that evening. The events raised $2 million for the Library Foundation of Los Angeles.

(Jason Armond / Los Angeles Times)

The week before the Literary Feast, Atkinson and Burns spoke to members of Congress in Washington, D.C., and also screened a 40-minute clip at Mount Vernon where Atkinson discussed Washington’s unique talents as a general.

“I’ve seen the whole thing several times and it’s fantastic,” Atkinson said of the 12-hour film. “It’s as you would expect: beautifully filmed, wonderfully told, great narrative.”

The country is now more than four months into its semiquincentennial, which Atkinson joked “sounds like a medical procedure,” but is actually the 250th anniversary of the founding of the United States. It’s well known that Trump is planning a splashy party, with festivities and commemorations intensifying over the next eight months, culminating in a grand celebration in Washington, D.C., on July 4, 2026.

Rick Atkinson’s book “The Fate of the Day,” which explores the bloody middle years of the Revolution from 1777 to 1780, was released in April.

(Jason Armond / Los Angeles Times)

“My hope is that as a country, we use the opportunity to reflect on those basic questions of who we are, where we came from, what our forebears believed and what they were willing to die for,” said Atkinson. “I’m optimistic because I’m a historian, because I know our history. No matter how grim things seem in 2025, we have faced grimmer times in the past, existential threats of the first order, starting with the Revolution.”

The politically deflated might also consider World War II — the subject of Atkinson’s Liberation Trilogy — the second volume of which won the 2003 Pulitzer Prize for history. The writer knows his stuff. Guests — and readers — take heart.

When Xavier “X” Atencio was plucked by Walt Disney in 1965 to be one of his early theme park designers, he was slotted on a number of projects that placed him out of his comfort zone.

Atencio, for instance, never would have envisioned himself a songwriter.

One of Atencio’s first major projects with Walt Disney Imagineering — WED Enterprises (for Walter Elias Disney), as it was known at the time — was Pirates of the Caribbean. In the mid-’60s when Atencio joined the Pirates team, the attraction was well underway, with the likes of fellow animators-turned-theme park designers Marc Davis and Claude Coats crafting many of its exaggerated characters and enveloping environments. Atencio’s job? Make it all make sense by giving it a cohesive story. While Atencio had once dreamed of being a journalist, his work as an animator had led him astray of a writer’s path.

Atencio would not only figure it out but end up as the draftman of one of Disneyland’s most recognizable songs, “Yo Ho (A Pirate’s Life for Me).” In the process, he was key in creating the template for the modern theme park dark ride, a term often applied to slow-moving indoor attractions. Such career twists and turns are detailed in a new book about Atencio, who died in 2017. “Xavier ‘X’ Atencio: The Legacy of an Artist, Imagineer, and Disney Legend” (Disney Editions), written by three of his family members, follows Atencio’s unexpected trajectory, starting from his roots in animation (his resume includes “Fantasia,” the Oscar-winning short “Toot, Whistle, Plunk and Boom” and even stop-motion work in “Mary Poppins”).

For Pirates of the Caribbean, Atencio is said to have received little direction from Disney, only that the park’s patriarch was unhappy with previous stabs at a narration and dialogue, finding them leaning a bit stodgy. So he knew, essentially, what not to do. Atencio, according to the book, immersed himself in films like Disney’s own “Treasure Island” and pop-cultural interpretations of pirates, striving for something that felt borderline caricature rather than ripped from the history books.

Xavier “X” Atencio got his start in animation. Here, he is seen drawing dinosaurs for a sequence in “Fantasia.”

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Indeed, Atencio’s words — some of those quoted in the book, such as “Avast there! Ye come seeking adventure and salty old pirates, aye?” — have become shorthand for how to speak like a pirate. The first scene written for the attraction was the mid-point auction sequence, a section of the ride that was changed in 2017 due to its outdated cultural implications. In the original, a proud redheaded pirate is the lead prisoner in a bridal auction, but today the “wench” has graduated to pirate status of her own and is helping to auction off stolen goods.

At first, Atencio thought he had over-written the scene, noticing that dialogue overlapped with one another. In a now-famous theme park moment, and one retold in the book, Atencio apologized to Disney, who shrugged off Atencio’s insecurity.

“Hey, X, when you go to a cocktail party, you pick up a little conversation here, another conversation there,” Disney told the animator. “Each time people will go through, they’ll find something new.”

This was the green light that Atencio, Davis and Coats needed to continue developing their attraction as one that would be a tableau of scenes rather than a strict plot.

Tying it all together, Atencio thought, should be a song. Not a songwriter himself, of course, Atencio sketched out a few lyrics and a simple melody. As the authors write, he turned to the thesaurus and made lists of traditional “pirating” words. He presented it to Disney and, to Atencio’s surprise, the company founder promptly gave him the sign off.

“Yo Ho (A Pirate’s Life for Me),” Atencio would relay, was a challenge as the ride doesn’t have a typical beginning and ending, meaning the tune needed to work with whatever pirate vignette we were sailing by. Ultimately, the song, with music by George Bruns, underlines the ride’s humorous feel, allowing the looting, the pillaging and the chasing of women, another scene that has been altered over the years, to be delivered with a playful bent.

The song “altered the trajectory” of Atencio’s career. While Atencio was not considered a musical person — “No, not at all,” says his daughter Tori Atencio McCullough, one of the book’s co-authors — the biography reveals how music became a signature aspect of his work. The short “Toot, Whistle, Plunk and Boom,” for instance, is a humorous tale about the discovery of music. And elsewhere in Atencio’s career he worked on the band-focused opening animations for “Mickey Mouse Club.”

“That one has a pretty cool kind of modern instrument medley in the middle,” Kelsey McCullough, Atencio’s granddaughter and another one of the book’s authors, says of “Mickey Mouse Club.” “It was interesting, because when we lined everything up, it was like, ‘Of course he felt like the ride needed a song.’ Everything he had been doing up to that point had a song in it. Once we looked it at from that perspective, it was sort of unsurprising to us. He was doing a lot around music.”

Xavier “X” Atencio contributed concepts to Disneyland’s Haunted Mansion, including its famous one-eyed cat.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Atencio would go on to write lyrics for the Country Bear Jamboree and the Haunted Mansion. While the Haunted Mansion vacillates between spooky and lighthearted imagery, it’s Atencio’s “Grim Grinning Ghosts” that telegraphs the ride’s tone and makes it clear it’s a celebratory attraction, one in which many of those in the afterlife prefer to live it up rather than haunt.

Despite his newfound music career, Atencio never gave up drawing and contributing concepts to Disney theme park attractions. Two of my favorites are captured in the book — his abstract flights through molecular lights for the defunct Adventure Thru Inner Space and his one-eyed black cat for the Haunted Mansion. The latter has become a fabled Mansion character over the years. Atencio’s fiendish feline would have followed guests throughout the ride, a creature said to despise living humans and with predatory, possessive instincts.

In Atencio’s concept art, the cat featured elongated, vampire-like fangs and a piercing red eye. In a nod to Edgar Allan Poe’s story “The Black Cat,” it had just one eyeball, which sat in its socket with all the subtlety of a fire alarm. Discarded eventually — a raven essentially fills a similar role — the cat today has been resurrected for the Mansion, most notably in a revised attic scene where the kitty is spotted near a mournful bride.

Xavier “X” Atencio retired from Disney in 1984 after four-plus decades with the company. He drew his own retirement announcement.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Co-author Bobbie Lucas, a relative of Atencio’s colloquially referred to by the family as his “grandchild-in-law,” was asked what ties all of Atencio’s work together.

“No matter the different style or no matter the era, there’s such a sense of life and humanity,” Lucas says. “There’s a sense of play.”

Play is a fitting way to describe Atencio’s contributions to two of Disneyland’s most beloved attractions, where pirates and ghosts are captured at their most frivolous and jovial.

“I like that,” Lucas adds. “I like someone who will put their heart on their sleeve and show you that in their art.”

If you’re looking to save money on a UK hotel stay, there’s one day of the week you should always book on

Whilst holidaymakers frequently look to secure a staycation during this period, it might seem logical to book over the weekend whilst enjoying a relaxing brew. Nevertheless, this approach could result in higher costs.

Rather, you should hold off until the surge of weekend reservations subsides and corporate travel arrangements are finalised. This puts Tuesday as the optimal day for holiday booking, given increased availability and booking platforms seeking to fill remaining accommodation swiftly.

Consequently, being adaptable proves beneficial if you can tolerate the uncertainty.

Hotels generally maintain a cancellation period of 24 to 48 hours, prompting them to market any cancelled accommodations – occasionally at discounted rates, reports the Express.

Whilst extremely risky and spontaneous, some excellent hotel bargains can emerge after 6pm – provided you happen to be nearby.

Nevertheless, these guidelines are reversed regarding major chains such as Premier Inn and Travelodge.

Travel specialist Linda Reynolds, from Personal Travel Agents, informed The Guardian that she advises travellers to reserve early for optimal deals.

For instance, Travelodge promotes “rooms from £35 or less” when secured in advance; and particular travel platforms prove valuable additions to your toolkit.

Google Hotels, Kayak and Trivago, for example, will alert subscribers when rates drop, ensuring you’re informed about fantastic holiday bargains.

When to book a holiday

When it comes to choosing your actual hotel dates, Sunday through to Thursday typically offers the best value, helping you dodge those weekend price surges targeting short-break travellers.

It’s also worth keeping school holidays, bank holidays and local festivities in mind, as these will inevitably push costs up and are worth swerving if possible.

Reynolds said: “Sunday nights in cities are usually cheaper than Friday or Saturday nights because leisure demand dips after the weekend.

“In rural locations, including coastal areas, midweek (Monday to Thursday) is often cheaper than weekends, when leisure travellers arrive.”

If you’re plotting a London getaway, think about booking accommodation outside the city centre in zones two to three.

These areas offer better value, excellent transport links and still provide an authentic taste of the capital.

The same principle works for other major cities including Glasgow, Manchester, Edinburgh and Bristol.

Meanwhile, money coach Maddy Alexander-Grout suggests checking out Plans Change marketplace, which lets holidaymakers flog their trips at reduced rates – with discounts starting at 25% off.

“In my job, I travel around the country a lot, and I regularly use the site, saving about 20% on a hotel booking direct,” she said.

THIS holiday home brings a new meaning to the phrase ‘beach break,’ as the property actually backs onto the sea.

The coastal retreat actually sits on the shingle beach, so you can bathe in the sun during the summer, or cosy on up with a cup of tea in the winter months.

Sykes Cottages announced their ‘Gems Winners 2025‘ – which were judged by a panel of experts – including the Assistant Travel Editor Sophie Swietochowski.

Categories like ‘Best Farm Stay’ and ‘Best Newcomer’ were included, but the cottage called Bucket and Spades picked up ‘Best for Beaches’ – and Sophie revealed why it stood out to her.

She said: “When judging the Sykes Gems Awards, this property instantly stood out to me. Why? It’s its proximity to the beach. With bi-fold doors that open directly onto a pebble shore, but with your own private garden area, holidaymakers can benefit from a day at the seaside without needing to leave the home for the day.

“That’s a huge perk in my eyes. It reminds me a little of a beachside property in the Maldives that I once stayed in – I’d wake up and immediately plod into the open sea.”

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The cottage literally sits on the beach at Pevensey Bay in pretty East Sussex and is set over three floors starting with the open plan lounge, kitchen diner, where you’ll find bifold doors that open onto the beach.

Outside, there’s a private beachside area with a table, parasol and stepping stones that lead out onto the wider beach.

There are two double bedrooms with ensuites and the king room which has a balcony where you can enjoy a morning coffee looking at the view.

Inside, the rooms have a coastal and calming feel filled with light tones of blue along with splashes of hot pink and orange.

The cottage sleeps up to six guests, and there’s off-road parking for three cars – to bring along a pet dog costs an extra £40.

According to Sykes Cottages, if you book now, staying on Friday, November 7, 2025, for seven nights, you’ll be set back £1446 – but split between six guests, it’s £163.71pp, or £27.28pppn.

It’s very popular too, one visitor wrote in a review: “If I owned this property I wouldn’t rent it out because I’d live there myself”.

They added: “The location is amazing, Pevensey Bay is a well kept secret. I don’t think I would ever get tired of staring out at the view.”

The cottage has a customer rating of 4.9 out of five stars and a top Sykes rating.

Pevensey Bay sits between Eastbourne and Hastings on the East Sussex coast and is an old fishing village.

It might look familiar to anyone who watched ITV‘s Flesh and Blood series in 2020 as it was used as a filming location along with the nearby town of Eastbourne.

The village is small but still has a local shop and places to eat like The Aqua Bar and Castle Inn.

When it comes to coastal adventures, guests can walk to reach Cooden Bay in one direction and Eastbourne Sovereign Harbour in the other.

Sovereign Harbour has The Waterfront’s bars, restaurants and cafés with views out to the marina.

Further inland is the village of Westham, which is home to the Castle Cottage Tearoom, and as the name suggests, it sits right next to Pevensey Castle.

Pick up a slice of homemade cake, or enjoy a traditional cream tea for £8.20, or opt for sandwiches or toasted paninis instead.

Other nearby spots include Beachy Head, which is where you’ll find Britain’s highest chalk cliff with incredible panoramic views out to sea.

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For more incredible holidays stays, check out this one on the UK’s new Riviera with white sand beaches, celebrities and hidden holiday homes only visible from the sea.

Plus, here’s the secluded English cottage where your garden is the beach and people say it ‘doesn’t even look real’.