bringing

I can’t help but recognize the irony that Edwin Díaz is on the IL with neck inflammation. It was very likely caused by the whiplash he’s endured by tracking all of those line drives whizzing past his ear.

Ron Yukelson
San Luis Obispo

Regardless of whether Edwin Díaz ever excels again in his closer role, I wonder if anyone else feels like I do about the trumpets and light show hoopla announcing his entrance from the bullpen? I think not only does it add fuel to an already fired-up visiting team, it also is a slap in the face of the other Dodger relievers, who by the way, all currently have performed far better.

Gary Sohl
Fountain Valley

Edwin Díaz is auditioning for a spot on the postseason roster and the audition is not going well.

Richard Sherman
Margate, Fla.

Kyle Tucker’s sub-.240 batting average and the oft-injured Edwin Díaz cost the Dodgers $83 million this year — more than the entire payrolls of the Marlins and Guardians. No wonder so many fans believe the Dodgers are ruining MLB.

Barry P. Resnick
Orange

If Dodgers’ ownership is found to have circumvented the rules, there should be serious consequences. Voiding the fat contracts of Kyle Tucker and Edwin Díaz — and making them immediate free agents — would send a strong message from the commissioner’s office that such conduct will not be tolerated.

Steve Ross
Carmel

Anyone who is flying back home has been warned about the serious consequences

Travellers flying home after a holiday are being warned not to bring back certain items, even if they were purchased at a duty free shop. According to government rules, people who disobey risk facing a £5,000 fine or possible prosecution.

In an alert posted on social media by the Animal and Plant Health Agency, Brits returning home should not bring sandwiches, cheese, cured meats, raw meats or milk into Great Britain. The agency also states that this applies regardless of whether it is packed or packaged, or whether it has been bought at duty free.

It explains: “Help protect UK farmers from the devastating threat of African swine fever (ASF) and foot and mouth disease (FMD) by not bringing back meat or dairy products from the EU into Great Britain in your personal luggage. This includes items like sandwiches, cheese, cured meats, raw meats or milk into Great Britain – regardless of whether it is packed or packaged or whether it has been bought at duty free.”

The government agency says it is illegal to bring in most meat and dairy products from abroad for personal use. This is to protect the UK from devastating livestock diseases circulating in Europe and beyond.

Most personal meat and dairy products are now banned from entry into Great Britain. You must not bring in sandwiches, meat (raw or cured, such as ham and salami), dairy (milk, yoghurt, cheese) and animal-derived products. That includes items bought from duty free.

If you declare banned food products to Border Force officers at customs, they’ll take them away and destroy them. If you do not declare banned food products, you could be fined up to £5,000 (in England) or you could be prosecuted. Border Force can take away (‘seize’) your products if they think:

• you’ve brought something into the country illegally
• you’ve brought in too much of a restricted product
• it’s been cross-contaminated, for example with blood from meat – if any clothing or a bag the item’s in is contaminated, it’ll be destroyed

These rules are in place to protect the UK from highly infectious viral diseases of livestock, such as foot and mouth disease and African swine fever. These viruses can persist in meat and dairy products for several months, posing a risk to susceptible animals.

Neither disease affects humans. Livestock diseases like foot and mouth and African swine fever have a devastating impact on animal welfare, farming, trade and affect food security

The Animal and Plant Health Agency reminds travellers: “If you break the rules, you are breaking the law. If you break the rules, you are risking our food and economic security. If you break the rules, you could be responsible for the death of millions of animals. If you are found with undeclared illegal meat and dairy products, you will have these confiscated and risk a hefty fine.”

What are you allowed to bring into Great Britain?

You can bring the following into Great Britain from any country without any restrictions:

• bread, but not sandwiches filled with meat or dairy products
• cakes without fresh cream
• biscuits
• chocolate and confectionery, but not those made with a lot of unprocessed dairy ingredients
• pasta and noodles, but not if mixed or filled with meat or meat products
• packaged soup, stocks and flavourings
• processed and packaged plant products, such as packaged salads and frozen plant material
• food supplements containing small amounts of an animal product, such as fish oil capsules

President Donald Trump has given the U.S. Navy and the Pentagon 60 days to draw up a plan for installing steam-powered catapults and hydraulic elevators on the future Ford class aircraft carrier USS Doris Miller. On and off for nearly a decade now, Trump has talked about ordering the Navy to abandon the Electromagnetic Aircraft Launch System (EMALS) catapults and Advanced Weapons Elevators (AWE) that are currently at the core of the Ford class design. The EMALS and AWEs have struggled with reliability and maintenance issues, but reverting back to steam and hydraulics on future ships in the class would require a major redesign. Such a costly and time-consuming process would risk creating new delays in the delivery of new carriers, which are already running years behind schedule, and could put the future fleet into crisis.

The directive regarding the catapults and weapons elevators on the future Doris Miller, which is also known by the hull number CVN-81, is contained in a larger memo President Trump sent out yesterday titled “Rebuilding the United States Navy and America’s Shipbuilding Industrial Base.” The Wall Street Journal was first to report on the memo, which also orders various parts of the U.S. government to take new steps to boost U.S. maritime industrial capacity. This includes plans for the establishment of a fifth government-owned naval shipyard, sourcing new ships from foreign shipbuilders and otherwise increasing cooperation with them, improvements to the management of spare parts for submarines, and a broad overhaul of Naval Sea Systems Command (NAVSEA).

The section on the catapults and weapons elevators is brief, but stands out as a particularly significant development. It reads, in full:

“Within 60 days of the date of this memorandum, the Secretary of War, in consultation with the Secretary of the Navy, shall provide to the President, through the Director of the Office of Management and Budget (OMB) and the Assistant to the President for National Security Affairs (APNSA), a plan on the required measures to replace the Electromagnetic Aircraft Launch System and Advanced Weapons Elevators with steam and hydraulic systems for the construction of CVN-81, including timelines and resourcing requirements.”

The Wall Street Journal‘s report said that the expectation is that this redesign would carry over to all future Ford class carriers, but that the first three examples would retain their EMALSs and the AWEs. Currently, the USS Gerald R. Ford, hull number CVN-78, is the only ship in the class in operational service. The future USS John F. Kennedy (CVN-79) is currently undergoing another round of sea trials ahead of its expected official delivery to the Navy later this year. The future USS Enterprise (CVN-80) is also now under construction, having been laid down in 2022.

Beyond Doris Miller, the Navy has assigned names to two more future Ford class carriers – USS William J. Clinton and USS George W. Bush – but has not yet placed formal orders for those ships. The service has stated plans to acquire at least 10 members of the Ford class, in total.

The Navy also has 10 older Nimitz class aircraft carriers, all of which are equipped with steam-powered catapults and hydraulic weapons elevators.

USS Nimitz (CVN-68) Flight Deck Operations

TWZ has reached out to the Navy for comment on yesterday’s memo from the White House.

As noted, Trump has railed against the EMALS and AWEs for years now, tracing back to his first term in office. In 2017, he publicly said he would order the Navy to abandon those features, but never followed through. During a visit to the Nimitz class carrier USS George Washington in Japan in October 2025, he again said that he would force the Navy to go back to using steam and hydraulics on future carriers.

“They had steam, which worked so beautifully, and it has for 50 years, right? So we’re gonna go back. Seriously, fellas, I want to make that change. I’m gonna do an executive order,” Trump said last October. “I’m not going to let them continue to do this thing. They’re trying to make it work, they’re trying so hard, and they have something that’s perfect. So we’re going to go back on that and the magnets.”

As we have written in the past:

“In principle, EMALS, together with the Advanced Arresting Gear (AAG), is supposed to give Ford class carriers a significant boost in capability over their predecessors when it comes to the speed at which they can launch and recover aircraft. The software-controlled EMALS and AAG, the latter of which has also faced issues over the years, have lower reset times than the steam-powered systems found on Nimitz class carriers.”

Electromagnetic Aircraft Launch System (EMALS)

“The EMALS and AAG can also be more fine-tuned in terms of the forces they exert on aircraft during launch and recovery, expanding the range of types they can accommodate and adding additional margins of safety. This notably helps open the door for embarking smaller and more fragile types on Ford class carriers in the future. This flexibility could be particularly critical for supporting carrier-based drone operations down the line. Wear and tear on individual aircraft can also be reduced.”

“The electromagnetic AWEs are intended to further help improve the overall efficiency of flight operations on Ford by reducing the time it takes to get ordnance and other stores to where they need to go.”

Watch the Advanced Weapons Elevators on the aircraft carrier Gerald R. Ford

At the same time, as we have repeatedly pointed out, Trump’s criticisms are grounded in very real problems that have plagued the catapults and weapons elevators on the Ford over the years. TWZ has covered the issues with both of these systems, as well as other long-troubled aspects of the ship’s design, in detail. The Navy has been working to mitigate these problems, but has continued to face hurdles. Maintenance demands and heavy reliance on contractors to perform that work remain particular challenges.

“The reliability and maintainability of CVN 78’s EMALS and AAG continue to adversely affect sortie generation and flight operations, which remains the greatest risk to demonstrating operational effectiveness and suitability in IOT&E [initial operational test and evaluation],” the Pentagon’s Office of the Director of Test and Evaluation (DOT&E) stated in an annual report covering developments in the 2025 Fiscal Year (FY25), which was released in March. “Data collected during CVN 78’s FY25 pre-deployment workup cycle indicate that EMALS reliability remains consistent with developmental and operational test data collected in FY23 and FY24. Engineering upgrades to hardware and software have produced gradual improvements in cumulative reliability and availability. Reliance on off-ship technical support remains a challenge. NAVAIR is continuing development on improvements.”

When it comes to the AWEs, “the Ford class has yet to build and transfer ordnance to the flight deck at rates reflective of the Design Reference Mission. DOT&E expects the sustained SGR [Sortie Generation Rate] live demonstration to be the first operationally representative demonstration of high ordnance throughput,” the report, which has since been taken offline, also said. “Of note, the crew is still reliant on off-ship technical support for correction of AWE hardware and software failures.”

The video below shows flight deck operations aboard the USS Gerald R. Ford in March 2026 while the carrier was supporting Operation Epic Fury against Iran.

USS Gerald R Ford Continues Epic Fury On Iran • (MAR 2026)

The SGR live demonstration mentioned here was conducted in February of this year.

“While the Navy is still analyzing the data, preliminary reports from the Sortie Generation Rate test program show that the flight deck design in conjunction with EMALS and AAG have contributed to an increased sortie generation rate compared to that of a Nimitz class carrier,” the Navy subsequently declared. “As of today, these systems are operating as designed, and the Ford continues with scheduled mission tasking.”

“While operating in the Southern Command area of responsibility CVN 78 completed a successful four-day sustained Sortie Generation Rate demonstration in February,” according to a Modernized Selected Acquisition Report (MSAR) on the Ford class program that the Pentagon produced in April, but which was only released publicly more recently. “The event resulted in the collection of over 40,000 data points to support the modeling and simulation of the full 30-day Key Performance Parameter.”

“As of March 2026, 36,863 EMALS launches have been completed aboard CVN 78,” that same report also noted. “Logistics products are maturing and are being prioritized for high use components to support phased depot stand-up which commenced in FY 2022. Logistics contracts are in place with General
Atomics for EMALS sustainment support and interim spares.”

USS Ford Launches, Recovers Fighters With Electromagnetic Aircraft Launch System (EMALS)

In April, then-Secretary of the Navy John Phelan also confirmed that a major review of the Ford class program, centered on planning for the future USS William J. Clinton and the USS George W. Bush, was underway. Questions were raised at that time about whether major changes could be on the horizon, including the potential cancellation of planned orders for more carriers in the class or a transition to a new design.

“Trust me, we measure and monitor a lot of things in the Navy, including that – the airframes and how that works. So I think it’s a function of just understanding it, for example, is the sortie rate generation that much greater? And then what are the cost implications of this electric catapult, and did it really generate the savings?” Phelan told TWZ and others at a roundtable on the sidelines of the Navy League’s Sea Air Space 2026 exposition. “You know, the Navy would like to say we’ve saved $5 billion in terms of savings in number [sic] of men and maintenance. I just need to check that back up, and that’s what I mean by that.”

“I think, like anything, it’s both understanding the cost-benefit analysis of it, because we really want to make sure we’ve got a good handle on the costs,” he added. “I think one of the things we have to do a better job of in the Navy is kind of what I call total cost of ownership. So what does it really cost to sustain and maintain these things? I think we do a reasonable job at that, to be honest. But the infrastructure needs on these are also costs you have to understand going in.”

Trump fired Phelan unexpectedly just days after he made these and other remarks at Sea Air Space 2026. There have been reports that disagreements over separate plans for new Trump class battleships, specifically, as well as other more general friction within the Trump administration, factored into his sudden dismissal.

As mentioned, any plans now to eliminate the EMALS catapults and AWEs from the Ford class design, even just on future carriers like Doris Miller, would be a major undertaking. The core physical structure of the ship, as well as its power generation requirements and other key elements of the design, are heavily rooted in these features. All-new steam piping and the large piston systems, among other elements, would have to be installed in spaces not currently designed to accommodate them. The ship’s flight deck would have been reconfigured, as well.

As a result of the base design decisions, the nuclear reactor plant on the Ford class is also notably set up to generate less steam overall compared to the one on the Nimitz class, according to a past report from the Project on Government Oversight (POGO), an independent non-profit. All of this, in turn, raises additional questions about how much time and effort it would take to retrofit future Ford class carriers to use steam catapults, in particular.

General Atomics, the prime contractor behind the EMALS and the AAG, has unsurprisingly already come out against Trump’s new directive.

“The decision will have broader implications for carrier readiness, national security, and U.S. technological superiority, potentially creating opportunities for adversaries to close the capability gap,” the company said, according to The Wall Street Journal. “It also comes at a time when strengthening the U.S. supplier industrial base is a national priority, making workforce stability, production capacity, and the ability to sustain critical technologies more important than ever.”

It is worth noting here that China’s People’s Liberation Army Navy (PLAN) now has two ships with electromagnetic catapults, the Type 003 carrier Fujian and Type 076 amphibious assault ship Sichuan. The U.S. government previously approved the transfer of EMALS technology to India, which could make it way into the country’s future carrier INS Vishal. Other nations have also been considering EMALS-type catapults for future carriers and other naval vessels.

Huntington Ingalls Industries, which builds the Ford class carriers through its Newport News Shipbuilding division in Virginia, said it would “work closely with the Navy to implement any potential changes to ships under construction,” according to that outlet. At the same time, there are serious questions now about that yard’s ability to meet current timelines for delivering new carriers, which have already been delayed repeatedly.

Around the Yard at NNS: John F. Kennedy (CVN 79) Ship Turn Around

The Navy’s 2027 Fiscal Year budget proposal, released earlier this year, confirmed that the projected timeline for Doris Miller’s delivery had slipped from 2032 to 2034. “The primary schedule driver for CVN-81 is the lack of available shipyard construction space for large assemblies due to delays on CVN-80,” a Navy official told Military Times back in May.

The Navy originally expected to receive Enterprise in 2028, but that timeline has since slipped to 2031. The future USS John F. Kennedy was also originally scheduled to be delivered back in 2022. All of these delays have come along with continued cost growth, as well.

“In December 2025, the Secretary of the Navy notified Congress he was increasing the Cost Limitation Baseline for CVN 79 from $12.936 billion to $13.529 billion,” according to the aforementioned April MSAR report. “The Cost Limitation Baseline for CVN 80 and CVN 81 remain unchanged at $13.529 billion and $14.016 billion respectively.”

As mentioned, Trump’s memo yesterday also focused heavily on further steps to address now long-standing concerns about U.S. naval shipbuilding capacity across the board. America’s specific ability to produce new nuclear-powered surface warships and submarines has now become even more of a focal point in these discussions with the addition of the plans for the Trump class battleships. In May, the Navy confirmed the Trump class warships will have nuclear propulsion using the same type of reactors developed for the Ford class.

The Navy has not acquired a new nuclear-powered surface combatant in decades. Newport News is currently the only U.S. shipyard producing nuclear-powered surface vessels of any kind, and is already heavily strained by current demands, which also include production of new non-nuclear warships. There is only one other yard in the country that produces nuclear-powered vessels of any kind, and is focused on submarine production.

In a time of peace, without all the threats and operational demands the United States is currently facing, or if there was any kind of surplus carrier capacity, making fundamental changes to the Ford class carrier program might very well have been a logical decision. However, all of this also comes at a time when the Navy’s operational carriers are experiencing exceptional pressure. The Nimitz class carrier USS Abraham Lincoln, which has been on a marathon deployment in the Middle East, has become something of a poster child for growing readiness concerns amid reports of severely flagging morale and mental health among the crew. The Navy is now moving to relieve Lincoln.

Still, this is a worrisome situation that has already been building for many years, due in large part to a succession of global crises, and has now been further exacerbated by the ongoing conflict with Iran. Even so, the Navy is trying to keep to its existing schedule for inactivating aging Nimitz class carriers, though the date for when the USS Nimitz is set to leave service has now been pushed back until next year. Retiring existing carriers will only create further strains if the arrival of new members of the Ford class continues to be pushed back.

With the various timelines the Ford class program is looking at now, whether the future Doris Miller or other forthcoming carriers ultimately make the switch back to steam-powered catapults and hydraulic weapons elevators very much remains to be seen. Trump’s current term will end in January 2029, at which point Doris Miller could easily still be in a relatively early stage of construction. Any incoming administration could revert back to the original plan for the ship’s configuration.

Congress could also step in sooner, including to block spending any funds on changing the Ford class design. There is already separate friction emerging between lawmakers on both sides of the political aisle and the White House over the Trump class battleship program, and concerns about how that could impact other naval shipbuilding priorities.

As it stands now, the Navy has roughly two months to at least devise a path forward for returning to steam-powered catapults and hydraulic weapons elevators on the future USS Doris Miller.

Contact the author: joe@twz.com

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

Call girls reveal Liam Payne’s final chaotic hours in hotel & fateful trigger

WHAT NOW?

The chilling questions plaguing the coroner over Liam Payne’s final hours

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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