boss

Born in Rosario, Argentina, Bielsa hails from a family of educated minds, with his brother having worked in politics and his sister a renowned architect.

Both of those professions require analytical thinking – a gift Bielsa also possessed from childhood. However, he was drawn to football, not necessarily playing it but absorbing the tactics.

Every day he would send his mother to the local newsagent to buy football magazines and newspapers, spending hours reading up as much as he could about how teams played and how different managers worked.

Bielsa was still a capable but limited footballer. A defender but lacking in pace, he came through the youth system at his boyhood club Newell’s Old Boys before frustrating spells in the lower leagues of Argentinian football meant he decided to call time on his playing career at the age of 25 to focus on coaching.

His post-playing career started with the Buenos Aires university football team and, after two years there, he secured a position back at Newell’s as a coach of the reserve team.

Bielsa’s frustration with his limitations as a player played a significant part in his coaching philosophy, as he focused on ensuring that any player he coached was able to get the maximum out of their ability.

His training sessions were intense, with lots of focus on repetition – if a player did not have the talent to make something happen naturally then he would be sure to drill the processes into their minds.

Bielsa was appointed Newell’s manager in 1990 and his methods brought instant success as they won the Argentinian championship.

A spell in Mexico followed before Bielsa returned to Argentina in 1997 to manage Velez Sarsfield. There he would be labelled ‘loco’ (crazy) as he insisted on fielding two teenage centre-backs. He would have the last laugh, however, as he immediately helped them to win the league title.

Bielsa, who has said his nickname of ‘El Loco’ actually predates his time at Velez Sarsfield, very briefly became manager of Spanish side Espanyol but left them when he was offered his first international post in 1998 – as Argentina boss.

At the AI on the Lot media conference last week in Culver City, speakers laid out a view of artificial intelligence that was very much complementary to human workers.

Artificial intelligence is a tool that must be wielded by humans, several said. The idea was to help skilled artists and production specialists do their jobs and experiment, others said.

Of course, to many in Hollywood, AI is not that simple.

Guardrails on its usage emerged as a central issue in the 2023 writers’ and actors’ strikes, and additional rules were added in the recent Screen Actors Guild-American Federation of Television and Radio Artists and Writers Guild of America contracts. There are still big questions about AI’s effect on jobs in the entertainment business, as well as copyright and ethical concerns.

Whether it’s good or bad or some combination of both, AI, in some form, is probably here to stay.

So, eight months ago Amazon MGM Studios opened an AI Studios division to start work on Project Nara, an AI production toolkit built on Amazon’s AWS cloud computing platform that could be used by teams of filmmakers. Project Nara is still in beta mode, and the company set up a GenAI Creators’ Fund to give filmmakers interested in using the toolkit financial support, while also giving the studio feedback.

The beta testers got eight weeks to produce an animated short and, out of those, the company greenlighted three animated series.

Shortly after the conference, filmmaker Jorge Gutierrez, whose stop-motion-style “Punky Duck” was chosen as one of the greenlighted series, pulled out after an online backlash over his use of AI.

“We respect Jorge’s decision, as well as his incredible talent, his voice and the world he created with ‘Punky Duck,’” an Amazon MGM Studios spokesperson said in a statement. “We continue to be excited about the innovative work moving forward at our studio and the GenAI Creators’ Fund.”

Before the flap over “Punky Duck,” I spoke with Albert Cheng, head of Amazon MGM Studios’ AI Studios, about the goal of the division, what’s next for AI and his belief that humans are at the center of creativity. The conversation has been edited for length and clarity.

Why was AI Studios formed?

AI Studios was started last fall because we wanted to learn how to leverage AI technology to build tools that would help enhance or redefine the workflows for film and TV production.

When you look at the horizon of what it takes to drive continued engagement of a global streaming service like Prime Video, we need more original programs. So if you can figure out how we take the same amount of money that we spend and be able to make more shows, that’s ultimately what we want, and we think AI is going to be a help to drive that.

With AI, now we’re looking at how does technology change the way we actually create our cinematic storytelling? It could mean that with AI, we will hear from a lot more voices. If we can actually get the biggest costs down, we will be able to have more voices, be able to take more risks and creative risks most of all.

There’s always concern about what does AI mean for jobs. We believe that it actually creates more jobs and different types of jobs. In fact, people with experience, plus the tools, become even more valuable in terms of their ability to produce excellent quality work. So it’s always about the human behind it.

You mentioned that some of these production crews had more than 100 people, but crews in the past would have been much larger. How do you respond to concerns about that?

You may have smaller crews, but we’ll do more of them [productions], and more in a short period of time. When you actually have smaller productions and you do more of them, you’re increasing your throughput. Your turnover rate of the available jobs is much faster, so your job totals are actually going to be bigger.

You spoke about the idea of AI filmmaking bringing jobs back to L.A. and expanding California’s production incentive eligibility to include AI-assisted filmmaking. Can you elaborate on that?

When you look at AI production, it can be done on a soundstage. We don’t need to go to London, we don’t need to go to other places.

We do have technology companies in California that are driving this, we have people here in the city that have experience, if given the AI tools, can produce great work. So, how can we not incentivize more companies to use our soundstages and finally make productions and make more of them?

Have you or anyone else at Amazon spoken with government officials about this idea of expanding the incentive criteria?

We’ve been talking to a number of bodies about whether it’s possible. The question is, who’s going to take the ball?

How much can you decrease a show’s production budget by using AI?

I think we can get a show to half the cost, [or] to almost a fifth of the cost.

What was the thinking behind the GenAI Creators’ Fund?

We wanted to provide a support and invest in creators who wanted to try it, and then also give us feedback.

We also wanted to show that storytelling is the thing that drives the content. It’s not the technology; the technology just enabled them to make it.

What is the biggest misconception of AI use in production?

There’s a narrative that AI can do so many things by itself, that you don’t need people. That’s absolutely not true. It’s just a technology, it can’t make decisions.

In order for something actually quality to be made, a person actually needs to be behind that, and that’s been proven over and over again. People are still responsible for the output.

Stuff We Wrote

Film shoots

Number of the week

Internet culture drove the box office over weekend, with A24’s “Backrooms” hauling in $81.4 million in the U.S. and Canada.

The $10-million horror flick, which stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement, was directed by 20-year-old YouTuber Kane Parsons and is based on his online series of the same name. Worldwide, the film made nearly $118 million in its debut weekend.

Focus Features’ “Obsession” also had a big weekend with a 10% jump in domestic box-office revenue in its third outing. The horror movie, which had a production budget of less than $1 million, was directed by Curry Barker, who also built his reputation on YouTube.

Together, the two films highlight the growing power of YouTube — and online culture as a whole — on the big screen. They beat out franchise film “Star Wars: The Mandalorian and Grogu,” which dropped 69% from its debut last weekend to rank third at the box office.

What I’m watching

I’m just one episode away from finishing this season of “Bridgerton” on Netflix. While I liked that the show dived into the social class dynamics behind Benedict and Sophie’s romance, I have to say that I loved the secondary focus on Violet Bridgerton and Lord Anderson finding a second chance at love.

Bristol City are close to appointing Lincoln boss Michael Skubala as their new manager.

The Robins have moved quickly for the 43-year-old after failing to convince Bournemouth assistant Tommy Elphick to join.

Nothing has been signed yet but it is now expected Skubala will move to the Championship side.

It will cost Bristol City over £1m in compensation with Skubala understood to have signed a new contract at Sincil Bank after initially missing out on the job to Elphick.

Skubala won the League Managers’ Association League One manager of the season after taking the club to the second tier for the first time in 65 years by winning the title.

He is close with Bristol City sporting director James Ellis, only formally appointed at the Robins this month, with the pair having worked together in the Great Britain Universities setup.

The former Leeds Under-21 boss was one of the leading contenders before the Robins initially chose Elphick, 38.

The former Brighton and Aston Villa defender had positive talks and was impressed with the club and its personnel but decided against making the move on Wednesday.

With Marco Rose replacing Andoni Iraola at the club, sources have told BBC Sport Elphick wants to assess his options further.

Bristol City, who finished 12th in the Championship, are looking for a permanent manager after appointing former England boss Roy Hodgson as an interim replacement following Gerhard Struber’s sacking in March.

Mauricio Pochettino has held initial talks with AC Milan to become their next manager following Massimiliano Allegri’s sacking.

The 54-year-old Argentine is currently preparing for the World Cup with the United States, but his contract expires after the tournament.

Pochettino’s immediate focus is on this summer’s finals, which begin on 11 June and are being co-hosted by the US, Canada and Mexico, but an eventual return to club football may interest the former Tottenham and Chelsea head coach.

However, speaking after training on Thursday, Pochettino replied “no” when asked if he had met with AC Milan’s management before being opaque about his representatives’ dealings with the Serie A side.

When asked if his representatives had had a meeting, he replied: “Maybe, possible, because they need to do their job.”

He added: “If I met someone, what happened? What is going to change if I met someone?

“We have friends everywhere and my representative works for me into trying to find the best possibility for the future. That is normal.”

Pochettino said he and US Soccer Federation chief executive JT Batson had discussed the possibility of him staying.

“He asked if we are open to listen [to] the project of the federation for the next four years,” said Pochettino.

“And we said of course we are open. Do you think that if we have a commitment with another people, we are going to waste time to listen?”

Batson said Pochettino has been “incredibly transparent” about approaches from other clubs, right from when they first met a couple of years ago, and that “there were lots of people interested in Mauricio and his team”.

Batson added: “He had standing offers from other places and he wanted to be here. He’s a big believer in what we’re doing at US Soccer. He’s a big believer in soccer in America, and he’s a big believer in this men’s team.”

Pochettino’s last club spell was as Chelsea boss for the 2023-24 season, with the Blues finishing sixth in the Premier League and losing the Carabao Cup final to Liverpool.

Before that he was at Paris St-Germain for a season and a half, winning the Ligue 1 title and French Cup.

He also had a five-and-a-half-year spell at Tottenham and reached the 2019 Champions League final, only for Spurs to lose 2-0 to Liverpool.

Pochettino, who has also managed Espanyol in Spain and Southampton, was a defender during his playing career and made 20 appearances for Argentina.

AC Milan sacked Allegri earlier this week after failing to qualify for the Champions League, in a season the club’s hierarchy described as an “unequivocal failure”.

Milan dropped from third place to fifth in Serie A after a 2-1 home defeat by Cagliari on the final day to miss out on the elite European competition for the second year in a row, although they did secure a Europa League spot.

A FRENCH actor with a role in Netflix series Emily in Paris has died after a brave battle with amyotrophic lateral sclerosis.

Pierre Deny, a dearly beloved face on French television for decades, died on Monday at the age of 69 from complications with the disease that causes progressive muscle paralysis.

“It is with deep emotion that we announce the passing of Pierre Deny, which occurred this Monday following a sudden and severe case of ALS,” his daughters said in a statement.

Also known as Charcot’s disease, ALS is a progressive neurodegenerative disease that affects nerve cells in the brain and spinal cord.

It leads to muscle weakness, atrophy, and paralysis, eventually affecting the ability to speak, eat, and breathe.

Tributes have been paid to the star by other celebrities, hailing him as a “generous actor”.

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Sylvie Vartan, Bulgarian-French singer and actress, wrote on Instagram: “It is with great sadness that I learned of the passing of Pierre Deny.

“I shared many wonderful moments with him on stage in Isabelle Mergault’s play.

“He was a generous actor and a sensitive and funny man. In these painful moments, my thoughts are with his family and loved ones.”

Raphael Benoliel, someone who said was a friend of Deny’s, described him as a “great artist” and a “magnificent person.”

“I shared with him a passion for soccer that he loved above all else … he was a true enthusiast, and we were still playing together just a year ago like a couple of kids,” the post on X read.

“He had the joy of the game, the joy of being together, the love of effort, of life … That goddamn Charcot’s disease took him away far too soon … it’s so unfair.”

The actor began his career in theatre in the 1980s before moving into film and television.

He was particularly known for his roles in the police series such as “Julie Lescaut” or “Une femme d’honneu”, where he played Captain Philippe Kremen.

He also played the role of Renaud in the soap opera “Demain nous appartien” in which he appeared in 500 episodes. 

Most recently, Deny appeared in seasons three and four of Emily in Paris, in which he played Louis de Léon, CEO of fashion giant JVMA.

The sun shone and the tears flowed on an emotional day at Anfield as Liverpool said goodbye to two of their greats in Mohamed Salah and Andy Robertson.

With Champions League qualification never really in doubt, the focus throughout the draw against Brentford was on the pair, who went off in the second half and were given a guard of honour.

Nine years on, their chapter at Liverpool is over. As for Arne Slot, the next chapter may well define his own Liverpool future.

In his first interview as Liverpool head coach in June 2024, Slot was asked about the “few similarities”, external between his style of play and that of his predecessor Jurgen Klopp.

Slot spoke about how the Reds hierarchy did not want the exact same style but were looking for a similar approach, which was was one of the reasons why sporting director Richard Hughes opted to appoint him.

“We were all inspired by [Pep] Guardiola and Klopp and I think at a big club, which I worked in at Feyenoord as well, it is probably the only style you can play – to have the ball a lot, to have a lot of energy… there are comparisons between the club I left behind and the club I am going to work for now,” Slot said at the time.

“Both fans love to see a team that wants to do everything to win a game and if things are tough they try to do everything to turn the game around.”

In a stunning debut season, Slot’s Liverpool romped to the Premier League title, losing just two games before the trophy was sealed in April 2025.

In their first 34 league games, Liverpool averaged 2.4 points per game. The style was certainly not ‘heavy metal’, but they were measured in possession and experts in game management – winning 21 of the 23 games when they scored first.

By contrast, Liverpool have lost 12 league matches this season and 19 across all competitions in what has been a feeble title defence.

They may have secured Champions League qualification for next season, but fan discontent over the course of the campaign has been clear and it is a worrying direction of travel under the Dutchman. Across their 38 league fixtures, Liverpool averaged 1.6 points per game to finish with 60 – the joint-lowest total for any English side to qualify for the Champions League via their league position.

“I mentioned it many times, this has been the most challenging year in my career,” Virgil van Dijk told Sky Sports. “It’s tough to take, and tough to go through that as a team but we are Liverpool and we come out of it stronger. That’s the main focus now.”

Slot insisted earlier this month that he has “every reason to believe” he will be the Liverpool boss next season, with his current deal expiring next summer. Liverpool are also closing in on appointing Slot’s former assistant Etienne Reijnen to their coaching staff – a move that would further underline their commitment to Slot.

There is of course credit in the bank and Liverpool are not traditionally a sacking club – but there is no disguising the fact that Slot’s relationship with the fanbase appears increasingly fragile.

On a number of occasions this season, Liverpool have been booed off at Anfield. Salah’s statement last week calling for a change in the style of play only added fuel to the fire – Slot did his best to downplay the situation but it certainly did not look great for him and the club. Sunday’s display was again mediocre.

“In my opinion, it should not always be judged on the amount of trophies you win, it should also be judged on the fact of how you let your team play,” Slot said in January.

He will know that is an area in which his side must improve. Right now, there is none of the energy he mentioned in his first interview but at least Slot is aware, admitting he hasn’t liked a lot of what Liverpool have played this season.

And he insists that his side must find a way to evolve and a way to compete while also delivering a brand of football that Anfield can get behind.

Liverpool‘s average possession in the Premier League (59.4%) is second only to Manchester City over the season – but their football has been stale and without risk.

Against Chelsea earlier this month, supporters were heading for the exits well before full-time even though it was a Saturday lunchtime fixture.

Fundamentally, Liverpool fans want to see a team that does everything to try to win a game – as Slot alluded to in his first interview – and far too often this season, it has not seemed that way.

Slot often points to teams setting up in low blocks against his side and there are mitigating factors with the amount of injuries Liverpool have had and the emotional challenges they have had this season after the passing of Diogo Jota.

Come August, with the players at his disposal, Slot must get fans excited to watch Liverpool again and turn Anfield back into a place that the opposition fear. That alone is the bare minimum.

York: Dagger; Galeano, Wood, Mata’afa, Nofoaluma; Roberts, Hunter, Martin, Inman, Vuniyayawa, Buchanan, Field, McShane.

Interchanges: Balmforth, Va’a, Hudson, Hingano.

Catalans: Staines; Russell, Laguerre, Faataape, Cotric; Sexton, Aispuro-Bichet; Allen, Tison, Navarrete, Lipowicz, Maria, Garcia.

Interchanges: Satae, Condon, Wilson, Lis.

Referee: Matty Lynn

Coronation Street boss Kate Brooks has revealed when viewers will find out the identity of Theo Silverton’s killer after the scaffolder was killed off in the soap’s latest whodunnit

Coronation Street boss Kate Brooks has revealed when viewers will find out the identity of Theo Silverton’s killer.

The scaffolder, who was played by former Tracy Beaker star James Cartwright, was killed off at the end of the soap’s much-hyped Murder Week after almost a year of abusing partner Todd Grimshaw, and along with Todd himself, George Shuttleworth, Gary Windass, Summer Spellman, Christina Boyd and Danielle Silverton were named as official suspects.

It all came about following a flashforward, which aired earlier this year, and five potential victims were named in the incredibly dramatic storyline. In the end, it was Theo who was revealed as the victim after viewers had to sit through the same day played out over and over again, all played out from various points of view.

Now Kate, who took over as producer of the ITV soap in November 2024 and previously held the top job on Emmerdale, has told viewers that they will have to wait just a bit longer to find out who was responsible for the murder.

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She said: “It’s later in the summer. We reveal to the audience who it is during late June, July. There’s lots of people you definitely think it could be. It’s a massive story, there’s so many different twists, and there’s so many different offshoots to the story as well. You think you’re watching one thing, and then it diverts into a completely new kind of story territory. It’ll definitely keep people guessing. “

In the coming weeks the investigation shifts, and pulled in for questioning are Summer, Christina and Danielle. As lies are exposed, and arrests are made, it’s yet to be revealed if any of the six are actually the murderer.

They all have motives, and upcoming scenes will reveal why they are a suspect. Todd was being abused by Theo, and the night Theo died he was trying to hunt Todd down – so did he find him?

For Summer, the last time we saw Theo alive was when he trapped her in the flat alone. So did Summer kill Theo? Gary has also been seen acting weirdly – even though wife Maria Connor has givne him an alibi.

We know Gary had threatened him and the pair had clashed, and he’s also killed before. Did Gary take revenge? George also stood up to Theo, and on the night of the murder he was alone at home.

Finally there’s Theo’s ex-wife Danielle. She was also acting suspiciously on Monday and upcoming scenes tease her marriage faced it’s troubles. So might she have killed her violent ex?

Coronation Street airs weeknights at 8:30pm on ITV1 and ITV X.

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