bringing

UNSEEN pictures from inside the hotel where Liam Payne died have revealed more details on the singer’s tragic final hours.

Haunting images show the One Direction star, 31, speaking to two call girls in the hotel lobby before leading them to his room as well as staff bringing him up chilled buckets of booze.

The troubled singer died after falling 46ft from his third-floor hotel room balcony in Buenos Aires, Argentina, on October 16, 2024.

Cops launched a probe into the tragedy – and collected CCTV footage and witness statements from call girls Aldana Serrano and Lucila Goitea.

The police dossier of more than 3,000 documents and photographs, obtained by the Mail on Sunday, gave a chilling glimpse into the One Direction star’s final hours.

Pictures show Liam swinging around a pole during an alleged booze-and-drugs fuelled bender the night before he fell from the balcony.

LIAM’S AGONY

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WHAT NOW?

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Other photos from the day of his death show hotel workers delivering booze – believed to be champagne and whisky – to his room in buckets.

Further pics show two sex workers in reception before they are greeted by Liam and ushered towards his room.

Call girls Aldana Serrano and Lucila Goitea – who had consensual sex with Payne on the day of his death – told police the boy band star serenaded them with his own songs – before asking them for cocaine.

They also claimed the singer, who was worth £21m, argued with them over paying the agreed $5,000 (£3,700) fee for them to turn up at the hotel because he had no cash.

The star had been left alone in Buenos Aires after his girlfriend Kate Cassidy and friend Rogelio ‘Roger’ Nores both left the country.

The pair claimed he had been completely sober for the two weeks he spent with them – but in their absence the star quickly spiralled.

Receipts reveal the One Direction star ordered $600,000 worth of whisky to his room on the day of his death.

Family members seemed to know the singer’s fragile state of mind – and gave devastating accounts to police following his death.

Heartbroken father Geoff Payne told prosecutors his son was “not in control with what he did”, adding: “He was not Liam”.

Group chat messages in the police dossier show hotel staff were concerned about Liam’s “aggressive” behaviour.

In a “Reception” WhatsApp chat, hotel manager Gilda Martin wrote: “This person is going to be very intense throughout his stay.

“It’s important that we tell him ‘no’, always kindly and with excuses.”

A person replied: “Will do whatever we can.”

And when a waitress called Adri was summoned to deliver five bottles of whisky to Room 301, she was warned: “Take security with you.”

A receipt dated the day of his death reveal the One Direction star spent more than $600,000 on bottles of Johnnie Walker whisky.

Payne, who had a history of addiction, allegedly begged reception staff for drugs.

A toxicology report taken after his death revealed that the star had cocaine, alcohol and the powerful sedative Klonopin in his system at the time of the fatal fall.

Hotel worker Ezequiel Pereyra, 22, and waiter Braian Paiz, 26, have since been charged with supplying drugs to the singer.

They spent months in jail but were later released on bail. They deny the charges.

I cannot remember a summer when at least one evening hasn’t been spent following signs to a local sagra. Not quite a food market and not quite a village fete, a sagra is like a village moving its kitchen outdoors for a few nights.

When I think back to those nights from childhood, the first image that comes to mind is of a woman’s hand closed into a fist above a pan of hot oil. Through a tight circle formed between her thumb and forefinger, she would squeeze soft lumps of batter, one small ball at a time, into the oil. In a few seconds, each soft mass would become a pittula, a small Salento fritter: swollen, uneven, golden, too hot to eat straight away but too good to wait for.

I was born in Salento (Italy’s heel), in the south end of the Puglia region, and grew up in Taviano, a small town south of Lecce. Going away for the summer was something other people did. For my family, as with many local families, summer meant packing the car and moving from our main house in town to a smaller place by the sea, only a few miles away.

That place was Mancaversa, the seaside part of Taviano, where the Sagra tu Furese (mid August, dates to be finalised), which in Salentino dialect means the farmer’s festival, seemed to bring the whole village outdoors for dinner. From a small child’s perspective, it was a forest of legs and voices. I remember trying to pull my parents past the grown-up ritual of stopping every few yards to greet people they seemed to see only in summer, as we made our way towards the stalls near Piazza delle Rose, where men fanned embers with cardboard, sausages hissed on grills, horse-meat stew simmered in tomato sauce and gnummareddi (rolls of lamb offal) tempted the more adventurous.

Music came from a small stage and the village became an open-air sitting room, where people met over food that was ordinary for us, and almost incomprehensible to anyone who came to Salento looking for beaches and white light. No one would have thought to call them experiences. They were simply the proper way to get through summer, and in a country where a meal can quickly become expensive, they still make dinner feel possible for about €15.

Sometimes my parents, my brother and sister and I would go to Cannole. We would drive inland, passing through villages that all seemed to have a festival on. Only later did I understand that those roadside signs were a map of Italian summers, one I would go on to follow beyond Salento. Each led to a village gathered, for a few nights, around a dish of its own.

Cannole itself – a small town of just over 1,500 people – lies on the other side of the province of Lecce, towards Otranto and the Alimini lakes, and since 1985 the local Pro Loco Cerceto volunteer association has organised the Festa della Municeddha (10-14 Aug), dedicated to the small snail that has always been part of home cooking there.

The municeddha is eaten in three main ways: in tomato sauce, cooked down with onion and oil, or roasted. But whichever the version, the method for consuming them is the same: you free it from the shell with a toothpick and eat it standing up. The festival today is large, with music, stalls and full tables, and is a far slicker operation than the one I remember.

Around 400 miles up the Adriatic coast, in the Marche, is the small town of Campofilone, on the hills above the Aso valley. Since 1964, its Sagra dei Maccheroncini di Campofilone IGP (7-10 Aug) has taken an extremely thin local pasta (maccheroncini) and transformed it into the centrepiece of a public feast: cut even finer, made with semolina and eggs and cooked in one minute. As soon as it is drained, it is tossed through red mixed-meat ragù on large wooden boards, where these very fine strands, so delicate when dry, become a compact mass, glossy with sauce, ready to be sent out to the tables.

For the Sagra del Fusillo Felittese (13-23 Aug), set aside at least half a day. You leave the Cilento coast in the Campania region and climb inland, up to Felitto and the Gole del Calore (the Calore river gorge). The festival began in 1976 at Remolino, when fusillo (literally, little spindle) was used to bring people to the village. The reason to go is still the pasta: made with fresh eggs, long and hollow, rolled by hand around a thin iron rod. It is served with castrato ragù, traditionally made with goat from a castrated male animal, or with veal ragu.

If you’ve spent any time around Modena or Bologna in northern Italy (I moved to Modena to study at 18 and have lived there since), Castelfranco Emilia is the sort of place you’ll have passed through. At first I thought of it as a drive-through kind of town, but today I’m drawn to such places as they tend to keep their traditions fuss-free.

The tortellino, claimed by both Modena and Bologna, finds a nice compromise in Castelfranco. Legend says it was born here, at Locanda Corona, when an innkeeper glimpsed Venus’s navel through a keyhole and took it as his model. In practice, it is thinly rolled egg pasta, folded by hand around a filling of pork loin, prosciutto di Modena, mortadella di Bologna, parmigiano reggiano, egg and nutmeg. Here it is served in hot capon broth.

In September, Castelfranco holds the Sagra del Tortellino Tradizionale in Piazza Bergamini (4-14 Sept). What I remember is the square filling with long tables, people queueing at the cash desks and bowls of hot broth arriving one after another. Later, the parade leaves Corso Martiri like a small Renaissance pageant: women in brocade gowns and veils, men in caps and doublets, banners, music, and the innkeeper and noblewoman at the centre of the navel story that gave the tortellino its shape.

I arrived in Vipiteno, in Alto Adige/South Tyrol, in September, when summer in north Italy was cooling down. The Sagra dei Canederli (13 Sept) takes place during the day, and what I remember most is the strange orderliness of it: a 400-metre table laid with a gingham tablecloth in the historic centre, people finding a place, menus changing from one section to the next, and plates of dumplings arriving. It feels less like a fair than an alpine dining room laid out in the street, with folk music in the square and the mountains close enough to seem part of the meal.

A canederlo is a dumpling made from stale bread, eggs and milk – a way of using kitchen leftovers became one of the most recognisable dishes of these valleys. In Vipiteno, they come in broth, with speck, mushrooms, cheese and herbs; or sweet, with apricots or plums.

Sicily is at the southern end of the sagre map. I came to know Giarratana through the onion that bears the name of this village, in the south-east of the island. In August, those onions fuel an open-air supper and a small seasonal economy, with visitors coming to taste them where they are grown.

The Giarratana onion is large, flat and particularly sweet. It has been recognised by the Slow Food Presidia, and during the Sagra della Cipolla Giarratana (12-14 Aug), traditionally linked to the feast of San Bartolomeo, it fills markets, food stalls and tables along the village streets. It is served raw, finely sliced and dressed with olive oil, salt and cheese; baked whole or stuffed; or inside scaccia, a local speciality similar to a thin, folded focaccia. There are also hot dishes, preserves, local wine and music.

Giarratana is small: it is worth arriving before dark, parking outside the centre and, if accommodation in the village is full, staying in Ragusa, Modica or Chiaramonte Gulfi.

The Italy of sagre is too wide to fit inside a dining room and, for every silver cloche lifted, somewhere else in Italy there is a ticket number being called over a microphone and a dinner being served from a pot larger than anything you’d find in a home kitchen.

After years of closure due to war, hospitals in the Sudanese capital are welcoming mothers again, despite lingering economic and logistical hurdles.

In the Sudanese city of Omdurman, the maternity hospital, known locally as Al-Dayat or ‘Midwives” in English, has resumed operations after a long closure caused by the war. Mothers are once again arriving at maternity wards, navigating difficult economic and logistical conditions to give birth safely.

Al-Toma Jabara, a mother from East Nile, gave birth to her daughter, Doaa, at the hospital two days ago. She told Al Jazeera that she was unable to conceive during the war years. Fighting between the Sudanese armed forces and the Rapid Support Forces (RSF) separated Jabara from her husband for two years.

She has lived under constant bombardment and clashes in her home, making a normal family life seem impossible. She described Doaa’s arrival as a “new beginning” for her family after years of fear and deprivation.

At Bahri Hospital, Fatima Abdel Rahman, a mother from Al Jazirah state, recounted her exhausting and expensive journey to the capital Khartoum. Her family had to spend a large portion of their income on transportation and temporary accommodation near the facility to monitor her condition post-delivery.

Abdel Rahman noted that medication shortages forced her to buy basic drugs from outside pharmacies at inflated prices, adding to her financial burden. However, she stressed that the functioning maternity ward provided her with a vital sense of safety, sparing her the fear of dying due to lack of medical care – a constant dread she lived with during the war.

Rebuilding the shattered health sector

During the conflict, the closure of specialised maternity hospitals forced many women to undergo unsafe home births or travel long distances, drastically increasing risks for both mothers and infants. An anonymous official from the Khartoum State Ministry of Health confirmed that maternal and infant complications and mortality rates surged during the war due to closures.

The official told Al Jazeera that complication rates are now gradually decreasing as services resume. The health ministry has repaired and reopened 15 maternity wards across the capital, including Al-Dayat and the Saudi Hospital. The capital’s hospitals are now recording a significant increase in births, reaching about 7,000 new deliveries per month.

Emad Abdullah, director of the Omdurman Maternity Hospital, noted that it initially received only one or two cases a day upon reopening. Today, that number has climbed to approximately 60 births per day, as services expand to meet growing demand.

The hospital has several vital departments, including a caesarean section, an intensive care unit and a neonatal department equipped with about 140 incubators, making it the largest in Sudan.

Rising costs and logistical nightmares

Maternity costs vary significantly depending on the facility. At government hospitals, a natural birth typically costs about 130,000 Sudanese pounds ($216), while C-sections cost around 400,000 pounds ($666). In private hospitals, the cost of a natural birth shoots up to approximately 500,000 pounds ($813) and C-sections range between 600-800,000 pounds ($999-1,322), depending on the service level.

Despite the reopening of wards in Khartoum, Omdurman and Bahri, large challenges remain with patients from distant regions such as Al Jazirah and Kordofan facing exhausting journeys and exorbitant transport costs.

In the hospitals, there is a shortage of basic medicines and emergency rooms often operate beyond their capacity. In addition, the wartime exodus of doctors and nurses has left a critical gap in qualified staff, while essential medical equipment needs regular maintenance to keep up with demand.

Amira Othman Abdel Majeed, an infection control officer at Bahri Hospital, described the war as the most challenging period for the health sector, marred by severe shortages of supplies, electricity and water. That has imposed psychological pressure on medical staff who feared losing mothers and children during treatment.

However, she said the “liberation of Khartoum” and the resumption of maternity services have dramatically changed the landscape. Staff emerged stronger and more resilient, with the ongoing medical care serving as a prime symbol of the capital’s recovering health sector.

Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.

The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.

Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.

Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.

Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

@AlexanderCampbellOfficial (YouTube)

In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd

Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”

(Lara Cornell / Hulu)

“Alice and Steve” (Hulu, Disney+)

What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.

Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”

(Sophie Giraud / AMC)

If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.

To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?

I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.

In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?

We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.

Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?

I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.

What if he wants to go off and be a rock star now?

He could do it.

Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”

(Sophie Giraud / AMC)

You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.

Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.

At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —

Multifaceted.

And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?

It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?

I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?

A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.

Matthew Rhys’ facial expressions are so good.

Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.

OK, before I let you go, I hope we get a concert out in L.A. at some point.

Wouldn’t that be nice? Where would you put it up? Echoplex?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

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All tourists have been urged to follow a simple travel rule to avoid bringing bed bugs home from their holidays. It’s vital travel advice for people to take note of

As many of us begin planning trips abroad, there’s a crucial piece of advice you need to hear if you want to avoid bringing bed bugs back with you. It’s travel guidance worth heeding, as nobody wants to be landed with such an unpleasant problem after returning from their holidays.

The pests tend to dominate the headlines each summer, and now luggage is being hauled out of storage once more, the anxiety resurfaces for many travellers. Yet if you assume a swift inspection of your hotel bedding will suffice, James Rhoades, expert, founder and CEO of ThermoPest, cautions that we’re all searching in entirely the wrong place.

This isn’t the first expert guidance of its kind to emerge either. Previously, another tip was also shared to help prevent people carrying bed bugs home.

Peeling back the sheets to hunt for bed bugs might seem like common sense, but in practice, it’s largely futile. “The biggest mistake travellers make is checking the sheets,” said James.

“Bed bugs don’t hang around in open spaces; they hide in seams, frames and behind headboards. By the time you see one on the sheet, they’ve been there for a while.”

Put simply, you need to investigate more thoroughly if you’re serious about staying pest-free. Bed bugs are masters of concealment.

They don’t lurk in the centre of the mattress where they’re easily spotted. Instead, they gather in narrow, sheltered areas close to where people rest.

The key areas to inspect include mattress seams and piping, the edges and underside of the mattress, behind the headboard (a notorious hiding spot), cracks and joints in the bed frame, and gaps in nearby furniture.

What should you be looking for?

Not merely live bugs — which are small, flat and roughly the size of an apple seed — but also rust-coloured stains (their droppings), pale shed skins and tiny clusters of eggs.

Miss those, and you could miss the problem altogether. Until it quite literally bites you on the bum!

The real danger isn’t simply a disturbed night’s sleep; it’s what unfolds after you check out. Bed bugs are seasoned hitchhikers. They burrow into suitcase seams, clothing folds and even inside shoes — and it doesn’t take long, either.

James explained: “Even a single night’s stay in an infested room is enough for bugs to transfer into your luggage. Then, once you’re home, they spread quickly, into carpets, furniture and other rooms.”

Should you spot any signs of bed bugs, don’t simply request the room next door. He added: “Bed bugs can easily spread between rooms.

“Instead, it’s a much better idea to request a room in a completely different part of the building, ideally on another floor. And keep your luggage sealed until you’re sure the new room is clear.”

That’s the golden rule — don’t unpack immediately. Keep your suitcase on a luggage rack, positioned away from the wall, or even in the bathroom while you thoroughly inspect the room. Otherwise, you could end up bringing back more than you anticipated. It’s a straightforward travel rule to stick to.

The new cases in Uganda include a driver who transported the country’s first ⁠confirmed patient and a ​health worker.

Uganda has confirmed three new ⁠cases of Ebola, bringing ⁠the total number of infections in the country in this outbreak to five, as authorities stepped up contact tracing to try to contain the spread.

The update from Uganda’s Ministry of Health on Saturday came a day after World Health Organization Director-General Tedros Adhanom Ghebreyesus announced the risk assessment for the Bundibugyo strain of Ebola was being revised to “very high at the national level, high at the regional level, and low at global level”.

Nearly 750 suspected cases and 177 suspected deaths ‌have been recorded in Uganda’s neighbouring country, Democratic Republic of the Congo (DRC), the centre of the outbreak.

First responders in the DRC say they lack basic supplies, which some have attributed to foreign aid cuts by major international donors, particularly the United States.

The WHO has said late detection, the absence of a vaccine or virus-specific therapeutics, widespread armed violence and high mobility among the population make the DRC especially vulnerable.

Uganda suspended all public transport to the DRC on Thursday after confirming two cases of Ebola – one infection and one death – involving Congolese nationals who crossed the border.

The new cases in Uganda reported on Saturday include a driver who transported the country’s first ⁠confirmed patient and a health worker ⁠exposed while caring for that patient.

Both are receiving treatment and were identified among known contacts, the Health Ministry said in a statement.

The third case is a woman ⁠from DRC who entered Uganda with mild abdominal symptoms and later travelled from Arua, close ⁠to the border, to Entebbe before seeking ⁠care at a private hospital in the capital, Kampala.

The patient initially improved and returned to DRC but later tested positive for Ebola after a follow-up prompted ‌by a tip-off from a pilot involved in transporting her.

All identified contacts linked to the confirmed cases are being closely monitored, ‌the ‌ministry said, urging the public to remain vigilant and report suspected symptoms.

“At this critical moment in the outbreak response, it is vital that authorities maintain high vigilance to control expansion of the virus,” Tedros said on Saturday.

“The WHO is working side by side with Africa Centres for Disease Control and Prevention, and partners in the DRC and Uganda, to contain the outbreak, support affected people, and bolster a coordinated response.”