THEME park fans heading to Universal’s Orlando resorts should take note as some attractions will be closed depending on when they plan to head to the tourist hotspot.
Some rides will be off-limits for a short period of time, while others will be out of action for longer.
Sign up for the Travel newsletter
Thank you!
Universal’s Volcano Bay will close in 2026Credit: Universal Parks USAThe popular Revenge of the Mummy Ride will be shut for a week in the New YearCredit: Universal Parks USA
Popular attractions set to be impacted include Revenge of the Mummy, and Jurassic Park River Adventure.
On Revenge of the Mummy, thrillseekers are plunged into darkness.
The ride will be closed between January 15 and 21, according to Inside the Magic.
The Hogwarts Express will fall silent between February 9-26 next year.
Universal’s Jurassic Park River Adventure sees riders plunge 85 feet in a thrilling drop.
But the ride will be closed from January 5, 2026 until November 20, as per the Orlando Informer.
Universal’s Volcano Bay water park will close temporarily from October 26, 2026.
It’s likely the attraction will reopen by the end of March 2027.
When visiting Volcano Bay, thrillseekers can enjoy a five-person attraction, Puihi of the Maku Puihi Round Raft Rides.
Or, those wanting a more relaxing experience can enjoy the winding river.
Volcano Bay is also home to shops, bars and restaurants.
Earlier this year, Universal’s Epic Universe opened, sparking an influx of tourists.
The park opened its doors on May 21 and is home to five themed lands.
Guests can immerse themselves in the Super Nintendo World and enjoy Mario Kart-themed attractions.
Epic Universe is home to the Wizarding World of Harry Potter and Dark Universe.
Harry Potter fans can enjoy a Butterbeer when visiting the Wizarding World.
Guests can immerse themselves in the Viking-themed village, which is inspired by How to Train Your Dragon.
Thrillseekers will have to wait a while before they can ride the Jurassic Park River Adventure when it shuts in JanuaryCredit: AlamyThe Hogwarts Express ride will be closing temporarilyCredit: AlamyUniversal Orlando’s Epic Universe park opened earlier this yearCredit: Universal Parks USA
SIR David Beckham celebrated his knighthood with a champagne knees-up — and jam roly-poly.
Best pal Gordon Ramsay hosted the bash at his flagship restaurant in Chelsea, whipping-up a three course meal including a Michelin-star take on Becks’ favourite pud.
Sign up for the Showbiz newsletter
Thank you!
Sir David Beckham celebrated his Knighthood with wife Victoria in LondonCredit: Darren FletcherThe bash was hosted by Gordon Ramsay at his flagship restaurant in ChelseaCredit: Darren FletcherHarper Beckham attended in a pink satin dressCredit: Darren Fletcher
Guests including his three youngest children Romeo, Cruz and Harper joined his parents, Ted and Sandra, and sister Joanne for beef Wellington — while wife Lady Victoria, who avoids red meat, had sea bass.
They then tucked into roly-poly and custard.
A friend said: “It was a super-lovely, very chilled sit-down dinner with David’s inner circle.
“Becks’ favourite Chateau Margaux — plus a lot of champagne — was flowing.
“Obviously everyone kept making a big deal of calling him ‘Sir David’ and that was the running gag of the night.”
After the Windsor Castle ceremony Sir David, 50, changed into a dapper black velvet tux while Lady Victoria, 51, opted for a slinky black floor length number from her own fashion range.
But there was still no sign of estranged eldest son Brooklyn.
Cruz Beckham was seen at the bash holding his bowtieCredit: Darren FletcherRomeo was all smiles for his dad’s big partyCredit: Darren Fletcher
Japanese horse racing has been on the precipice of breaking through on the U.S. scene. It seemed like it was almost there in 2021 when it won three Breeders’ Cup races. But after that it leveled off.
Through 10 races at this year’s Breeders’ Cup, horses from Japan underperformed. But in the 11th, the most important race in the two-day event, the breakthrough became official when Forever Young held off Sierra Leone, last year’s winner, to win the $7-million Breeders’ Cup Classic by a half-length.
The last time we saw Forever Young in this country was a year ago when the 4-year-old colt finished third in the Classic. Before that, he was third in the Kentucky Derby by a whisker while being on the receiving end of some bumping down the stretch by Sierra Leone. Without that he might have been victorious in a race that was won by Mystik Dan.
The commonality between the 2021 and 2025 Breeders’ Cup days was that both were run at Del Mar.
Forever Young was almost the victim of some legal chicanery on Saturday as trainer Chad Brown entered a horse — called a rabbit — with little chance to win so that he could set a fast pace. Sierra Leone, also trained by Brown, needs a fast pace to weaken the other horses, which would benefit Sierra Leone’s late running style.
But this time, Forever Young overcame all the obstacles thrown at him. He ran a very tactical race being placed close to the lead and never farther back than third.
Forever Young paid $9.00 to win. He was followed in order by Sierra Leone, Fierceness, Journalism, Mindframe, Baeza, Nevada Beach, Antiquarian and Contrary Thinking, who was the rabbit in the 1 1/4- mile race.
It was the third Breeders’ Cup win for trainer Yoshito Yahagi. When asked if this was his most satisfying win, Yahagi said, through a translator: “I will never, ever get satisfied until I get retired as a trainer.”
Forever Young was the third foreign horse to win the Classic, joining Argentine-bred Invasor in 2006 and Irish-bred Black Tie Affair in 1991.
“So last time here, the horse was 75% conditioned,” Yahagi said. “And this time we create 100% condition. Forever Young is an amazing horse.”
The winning jockey was Ryusei Sakai.
“We got the No. 1 in America,” Yahagi said to NBC.
The Classic lost a lot of luster when the favorite, Sovereignty, the winner of the Kentucky Derby and Belmont Stakes, was scratched earlier in the week when he spiked a fever. Sovereignty was the top-rated horse in the country and a possible horse-of-the-year winner. Many were hoping for a rematch with Journalism, who finished second in both those races and won the Preakness, which Sovereignty did not run in.
Trainer Bill Mott only brought two horses to the Breeders’ Cup, Sovereignty and Scylla. While Sovereignty didn’t make the starting gate on Saturday, Scylla ($17.20 to win) sure did, winning the biggest race of the year for female horses, the $2-million Distaff.
“It’s certainly difficult to see what happened to Sovereignty,” Mott said. “I think everybody that’s connected [with this sport] has been through it and we knew when it happened, he wouldn’t be able to compete and not at the level that he would need to. And it seems as though he’s recovering well but he’s really not the story here.
“I mean this one is about Scylla and about Junior [Alvarado, his jockey] and the Juddmonte connections.”
Alvarado took her to the front and never looked back, winning the 1 1/8-mile race by 5 1/2 lengths. Nitrogen was second and Regaled finished third. Favorite Seismic Beauty contended early but then faded to 12th in the 13-horse field.
The second richest race on the card, the $5-million Turf, was supposed be a matchup of two-time winner Rebel’s Romance and Minnie Hauk, who had five wins and two seconds in seven starts. They ran together for most of the 1 1/2-mile race but long shot Ethical Diamond started rolling in the top of the stretch and cruised to a 1 1/4-length win. Rebel’s Romance was second.
The Irish-bred Ethical Diamond, trained by William Mullins and ridden by Dylan Browne McMonagle, paid $57.40 to win.
The first Breeders’ Cup race of the day, the $1-million Filly & Mare Sprint, became less interesting when two of the favorites, Sweet Azteca (2-1 morning line) and Tamara (7-2), were scratched by the veterinarian. There was a third scratch that took the field down to seven.
Bob Baffert had three of the horses in the race, including Splendora, who won in dominating fashion by 4 3/4 lengths and paid $7.80. He was midpack until the far turn of the seven-furlong race before jockey Flavien Prat let him loose in the stretch.
It was Baffert’s 20th Breeders’ Cup win, tying him for second with the late Wayne Lukas. Aidan O’Brien won his 21st Breeders’ Cup race on Friday.
“[Lukas] changed every industry for the better,” Baffert said. “He brought elegance to the game. … To be part of it and then to tie him, it’s an honor for me. … I still miss him. I loved having conversations with him. It’s an honor to tie him.”
Shisospicy ($12.60) broke on top and held the lead to the finish to win the $1-million Turf Sprint, which was ran at five furlongs. The 3-year-old filly is trained by Jose Francisco D’Angelo and was ridden by Irad Ortiz, Jr., who picked up his 22nd Cup victory.
She’s Quality was eased shortly out of the gate in the Turf Sprint by jockey Colin Keane and walked onto the equine ambulance. She was transported to an equine hospital and is back in her barn being monitored.
Ortiz picked up his 23rd win in the next race when he won the $2-million Sprint aboard Bentornato. It was also the second straight victory for D’Angelo. Bentornato broke on top and was never headed in the six-furlong race. It was only his second race of the year for the 4-year-old ridgling. Bentornato finished second in last year’s Sprint, losing to Straight No Chaser, who finished seventh on Saturday.
There were three additional Breeders’ Cup races after the Classic, the turf Mile, Dirt Mile and Filly & Mare Turf.
An underrated period drama based on one of the most influential books of all time is available to watch for free
‘Must-watch’ period drama based on classic book is free to watch(Image: ITV/PBS)
Viewers shouldn’t miss out on this incredible four-part drama based on a classic novel, as it’s available to watch without spending a penny.
This breathtaking adaptation was originally aired in 2023 on ITV and PBS Masterpiece in the US and has developed a passionate cult following despite not receiving critical fanfare at the time.
Based on the novel by Henry Fielding, Tom Jones brings the seminal 1749 novel to life like never before with an ensemble cast of British legends.
William Tell’s Solly McLeod portrays the titular downtrodden hero, a young man with mysterious parentage who falls in love with his spirited neighbour Sophia Western (played by Sophie Wilde).
Sophie decides to flee her arranged marriage to be with Tom, but the pair are kept apart by a series of increasingly fraught misadventures.
They’re accompanied by some of the most recognisable names from the British screen, including Coronation Street’s Lucy Fallon, Harry Potter’s Shirley Henderson, New Tricks’ Alun Armstrong and Ted Lasso star Hannah Waddingham.
Many viewers consider the drama an essential watch and it’s still currently available to stream for free on ITVX.
One 10/10 review from an IMDb user declared it “Gorgeous viewing with a top notch cast”.
They continued: “The cast list is like a who’s who of the cream of British talent, topped by two lovely and good looking leads.
“The episodes fair gallops on its way, cutting through the boring exposition and getting quickly to the important stuff, the love story between Tom and Sophia.”
The review continued to particularly praise Waddingham’s performance as Lady Bellaston, declaring “Seriously, put this woman in EVERYTHING”.
“If you get a chance, watch it in one go, it’s perfect lazy weekend viewing,” the reviewer concluded.
Another warned that fans of the book should expect some changes to the narrative, but admitted: “Even though the story is not like really really the one from the book is one pretty entertaining and very fun to watch. The choice of actors was really good and they did a great job.
“I really recommend for you to watch it if you want some light series combined with romance, a bit of jealousy and of course some British scenery.”
And a 9/10 review said: “This is what you want from English costume drama – and more. I really liked it.
“Fans of historical dramas and literary adaptations will find Tom Jones a must-watch, as it stays true to the spirit of the novel while making it accessible and enjoyable for modern audiences.”
In the mood for a cosy period romance with plenty of laughs and scenery-chewing performances from British greats? Look no further.
Sovereignty, the top-ranked horse in the country, will not run in the $7-million Breeders’ Cup Classic after developing a fever this week. The winner of the Kentucky Derby, Belmont Stakes and Travers Stakes will recover although it’s unclear if he will ever race again.
Trainer Bill Mott made the announcement Wednesday morning and informed Breeders’ Cup officials of the scratch.
“I actually started thinking, ‘We might be OK.’ But then, in a matter of hours, my optimism was taken away,” Mott said. “When he had a real mild fever and we medicated him right away, he acted normal. I actually was maybe looking at it with rose-colored glasses.”
On Wednesday morning, Sovereignty was standing upright in his stall munching on hay and showed no obvious discomfort.
“We’ve gone through the entire year with this horse without a hiccup,” Mott said.
The fever was detected on Monday and he was treated with an NSAID, similar to Tylenol. He could not be given an antibiotic at that time because he would then likely fail a drug test. On Tuesday, Mott puts his odds at running at 50-50.
“If we don’t think he’s 100%, he won’t run in the Breeders’ Cup Classic,” Mott said on Tuesday.
After he was initially treated, his temperature went back to normal but then it spiked again overnight.
Sovereignty was the biggest star of the 42nd Breeders’ Cup and was installed as the 6-5 favorite to win the Classic.
Mott and owner Godolphin have been very cautious with this Sovereignty. After he won the Kentucky Derby his connections elected to not run him in the Preakness because it was only two weeks after the Derby. Horse racing is a dying brand on the sports landscape and a possible Triple Crown winner could have a shot in the arm the sport desperately needs.
A decision has not been made if the colt will return to racing next year or be retired to stallion duty.
Few recent films have had quite the reversal of reputation as Karyn Kusama’s 2009 supernatural high-school thriller, which can now clearly be seen for the wise, witty gem it has always been. Overwhelmed at the time by the cultural backlash that swarmed both its star Megan Fox (fresh from the media firestorm of the “Transformers” franchise) and screenwriter Diablo Cody, after her meteoric ascent with the Oscar-winning “Juno,” initial audiences were unprepared for a savage horror-comedy about the traumas of navigating the world as a teenage girl. The bond of two best friends (Fox, Amanda Seyfried) is put to the test when, after a ritual sacrifice goes awry, one of them becomes a possessed succubus who must feed on human flesh. Kusama’s finely modulated direction keeps all the plates of the story spinning as the film moves between being funny, scary and surprisingly tender toward its characters. A conversation with Kusama, Fox and professor Tananarive Due, who specializes in horror, should make this a special evening.
“Jennifer’s Body” is playing Oct. 25 at the Academy Museum. Tickets here.
All season, high school football coaches advise their players to stay focused and not look ahead. Then there’s what happens before, during and after the Garfield vs. Roosevelt football game is played.
“We’ve been hearing about this game since January,” Roosevelt coach Ernesto Ceja said. “I get the texts, the phone calls, ‘Are you guys going to beat Garfield?’ I’m like, ‘Let me put a team together, then I’ll get back to you.’”
The annual East L.A. Classic, in its 90th year, has a double homecoming and usually produces the largest regular-season crowd of the football season. It is set for 7:30 p.m. Friday at East Los Angeles College. The JV game is at 4 p.m., followed by a girls’ flag football game, then the varsity. DJ Mustard will be part of halftime festivities.
In this time of concerns about ICE raids in Los Angeles, East L.A. College officials say every entrance will be watched by L.A. County Sheriff’s deputies, campus police or private security. The school hosted 11 high school graduations last summer with no incidents and believes fans should feel comfortable attending. Tickets are available at GoFan.co
Garfield is on the verge of winning the Eastern League title with a 6-2 record and 5-0 league mark. Roosevelt (4-4, 3-1) has won three straight league games since switching to the double-wing attack.
Garfield principal Regina Marquez Martinez told a gathering of media, players, cheerleaders and band members on Wednesday at East Los Angeles College: “This community, these schools, we’re as American as apple pie and pan dulce.”
Said LAUSD board member Rocio Rivas: “Let’s go East L.A. Let’s go Boyle Heights.”
This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].
Fleetwood Mac from left: John McVie, Stevie Nicks, Mick Fleetwood, Christine McVie and Lindsey BuckinghamCredit: GettyFleetwood Mac’s album RumoursCredit: Alamy
But I’ve been told that there are serious discussions behind the scenes about a series of projects involving all of the remaining members to celebrate the 50th anniversary of their album Rumours, which is among the best-selling and most critically acclaimed records of all time.
At the centre of the plans is said to be Mick Fleetwood, who is leading peace talks between former couple Stevie Nicks and Lindsey Buckingham, as well as John McVie.
A one-off show, a TV special and a documentary about the making of Rumours are among options being discussed for the 2027 milestone.
And Warner Records is also preparing a special re-release of the album featuring unheard material from the original studio sessions.
A source close to Mick in the US said: “Fleetwood Mac are discussing new projects and how to mark Rumours’ big 5-0. For certain there is a special edition version of the album coming, which the band and label have been secretly looking at.
“But also there is a significant hope that it is time for the definitive documentary on all the chaos in the studio that created the magic on record.
“John and Christine were divorcing and she was dating their lighting guy. Stevie and Lindsey were over just before she and Mick enjoyed a brief fling. And drugs and booze were everywhere.
“The desire is for everyone to sit down and present their side of events on screen.
“And then of course comes the potential for a stage reunion and concert. That is the goal from Mick.
“Stevie has said it would not feel right being on stage without Christine, but also she and Lindsey are on a healing journey right now, which could be the path to a new show.
“However there is a desire to pay tribute to Christine in some way and a live show around Rumours seems a very fitting way.
“The gig would fill a stadium dozens of times because of the love they command.
“But unless some major shift happens, a tour is unlikely at this stage.”
Aaron Bay-Schuck, co-chairman and CEO of Warner Records confirmed at LA’s City of Hope gala that “some very special” music leftover from the making of Rumours had been found.
He said: “We will do everything in our power to respect that anniversary as long as they’ll let us.”
Last month, Stevie and Lindsey suggested relations had thawed when they reissued their 1973 Buckingham Nicks album.
And in March, Mick admitted: “I always have a fantasy that [Stevie] and Lindsey would pal up a bit more and just say everything’s OK for them both.”
They are beloved by an entirely new generation now thanks to social media, so there will be millions around the globe hoping they can patch things up for one last hurrah.
Aaron Bay-Schuck was at City of Hope’s Spirit of Life gala to celebrate co-chairman and Warner Records COO Tom Corson, who was honoured at the event.
It is the centrepiece of the music, film and entertainment industry’s annual philanthropic campaign and raised nearly $6million.
Xander Schauffele won his first title since last year’s Open Championship at the Baycurrent Classic in Japan.
American Schauffele carded a final-round 64, featuring eight birdies, to finish one shot clear of compatriot Max Greyserman on 19-under at Yokohama Country Club.
It was Schauffele’s first event since the United States’ Ryder Cup defeat by Europe at Bethpage Black in New York.
The 31-year-old struggled with a rib injury at the start of the year which disrupted the momentum generated by his 2024 Open victory at Royal Troon, which came only two months after his maiden major win at the PGA Championship.
“It feels good, it’s nice to know I’ve still got it,” said Schauffele. “It was a rough year but my team dragged me through it.
“Hopefully I’m catching my stride. It was a big learning experience with the injury this year.”
Schauffele added that it was “special” to win in Japan, where his mother grew up and his grandparents still live.
Michael Thorbjornsen, who briefly tied for the lead after an eagle at the fourth hole, finished three strokes behind Schauffele in third on 16 under par.
Schauffele’s Ryder Cup team-mate Collin Morikawa finished tied for 14th on 10 under.
American Matt McCarty had the round of the day, hitting 12 birdies – including eight in a row on the back nine – for a final-round 11-under 60, with only a bogey at the 18th denying him a sub-60 round.
The top two returners from last year battled for three miles before Lily Alder of Timpview (Utah) passed La Jolla’s Chiara Dailey in the final yards to win the Bob Day Girls Sweepstakes race on Saturday night in the 44th Woodbridge Cross Country Classic at Great Park in Irvine.
Alder won by 1.6 seconds in 15:40 flat after placing third in 2024 in 15:28.9 — seven-tenths of a second behind runner-up Dailey. Jaelyn Williams of Chula Vista Eastlake was third in 15:52 and taking fourth individually in 15:54.1 was Irvine’s Summer Wilson.
“My coach told me I could go 15:39 and I know I’m a lot better than I performed today,” said Wilson, a senior committed to Duke. “I found myself leading in the first two miles but my strength is my kick, so in retrospect it would’ve been smarter to stay back.”
Wilson’s former school JSerra (she transferred before her junior year) won the team title with 196 points.
Corona Santiago’s Rylee Blade, now a freshman at Florida State, set the meet record of 15:20.3 last fall. Her former Sharks teammate, Arkansas-bound senior Braelyn Combe, who won the state 1,600-meter title in the spring was seventh Saturday in 16:11.1.
Herriman (Utah) senior Jackson Spencer won the Doug Speck Boys Sweepstakes in 13:42.1, well off the meet record of 13:30.3 set a year ago on the same course by Owen Powell of Mercer Island (Wash.). Spencer, who was sixth in last year’s sweepstakes race, led the Mustangs to their fourth straight team championship.
Oak Park (203) won the Gold Varsity A boys race. Canyon Country Canyon senior Owen Souther was second individually in 14:41.8. Norwalk senior Leo Diaz won the Gold Varsity B race in 14:50.3 and El Toro was second in the team standings with 228 points.
Joaquim Sandoval, a junior from Warren, was first in the Blue Varsity B boys race in 14:28.6. “I’m feeling pretty good,” he said afterward.
Oaks Christian senior Delaney Napierala ran a personal-best 17:01.6 to outlast Jenna Murray of Moorpark (17:03.8) and win the Gold Varsity A girls race. In the Gold Varsity B race, Westlake freshman Sabina Cruz edged Autumn Banks of Tahoe-Truckee by one second in 16:50.7 while pacing the Warriors to the team title.
It’s Viva Las Vegas for the top girls volleyball teams in Southern California. They’ll be in Las Vegas this weekend for the 30th Durango Classic that will be played at four sites beginning Friday.
Seven of MaxPreps’ top 10 teams nationally are scheduled to compete, including Sierra Canyon, Mater Dei, Redondo Union, Marymount and Mira Costa.
Sea Hawks go on the road and sweep in 3 close sets against a scrappy El Segundo squad. Redondo moves to 13-3, 2-0 league.
Next up the #1 girls high school tournament in the country, Durango!
Sierra Canyon is ranked No. 1 in the Southern Section power rankings after knocking off Redondo Union last week.
It’s also one of the first chances to see teams strengthened by players who had to sit out the first half of the season after transferring without moving. The sit-out period ended Sept. 13. …
The Ivy League football season begins on Saturday, and there are 39 players from Southern Section high school teams listed on Ivy League rosters.
It’s my annual look at players from Southern California playing in the Ivy League. There’s 39 from Southern Section. Loyola and Harvard-Westlake have five each. Brains and brawn. pic.twitter.com/pePe8PDhOC
A POPULAR UK supermarket has recalled two of its products over fears they could cause an E.coli outbreak.
Customers have been warned not to eat either of the products after it was discovered they may contain Shiga toxin-producing E.coli (STEC).
2
The houmous could spark an E.coli outbreakCredit: Sainsburys
2
Sainsbury’s is asking customers to return the contaminated productsCredit: Sainsburys
Fears have been sparked that the contaminated products could spark an outbreak of the potentially deadly disease.
Customers could suffer serious symptoms including diarrhoea, abdominal pain and bloody diarrhoea if they consume the product.
The Shiga toxin-producing E.coli could also cause haemolytic uremic syndrome – a serious condition that can lead to kidney failure and can be fatal.
Anyone who has purchased JS Classic Houmous and JS Lemon & Coriander Houmous is being warned not to eat them.
Customers who have bought the contaminated products are asked to return them to the point of sale urgently.
Full refunds will be handed out to customers who bring back the potentially harmful humus.
Sainsbury’s is putting up in store notices to explain the recall to customers.
A notice issued by the The Food Standards Agency reads: “Sainsbury’s has taken the precautionary step of recalling JS Classic Houmous and JS Lemon & Coriander Houmous because these products may contain Shiga toxin-producing E.coli (STEC).
“If you have bought any of the above products do not eat them. Instead, return them to the store from where they were bought for a full refund.”
Shiga toxin-producing Escherichia coli (STEC): symptoms, how to avoid, and how to treat
THE most common type of Shiga toxin-producing Escherichia coli (STEC) in the UK is O157.
Symptoms
People infected with STEC can have a combination of the following symptoms:
diarrhoea (about 50 per cent of cases have bloody diarrhoea)
stomach cramps
fever
Some people may have mild diarrhoea, or even no symptoms at all.
Symptoms can last up to two weeks in cases without complications.
A small proportion of patients, mainly children, may develop haemolytic uraemic syndrome (HUS) which is a serious life-threatening condition resulting in kidney failure.
And a small proportion of adults may develop a similar condition called thrombotic thrombocytopaenic purpura (TTP).
How it’s transmitted
Cattle are the most important reservoir of STEC O157 in the UK, although STEC have also been found in the faeces of a range of animals, including deer, rabbits, horses, pigs and wild birds.
People can become infected by:
eating contaminated food
contact with infected animals either directly or through inadvertent contact with animal faeces, for example at farms, petting farms and campsites
contact with other people who have the illness (through inadequate hand hygiene after using the toilet, before food handling – particularly in households, nurseries and infant schools, or both
drinking water from inadequately treated water supplies
swimming or playing in contaminated water such as ponds or streams
How to avoid getting it
Good hygiene practices relating to food and drink, and animals and their environment can hep you avoid getting infected.
You must:
cook all minced meat products (burgers, meatloaf, meat balls) thoroughly, until the colour is the same all the way through, and no blood runs from them
ensure refrigerators are working correctly – bacteria grow more quickly at temperatures over 4oC
only leave cooked foods, meat and dairy products out at room temperature for a short time
store uncooked meats below cooked meats and salad vegetables to avoid dripping juices onto ready to eat food
store uncooked and cooked meats on different plates, avoid all contact between raw and cooked meats
thoroughly wash all salad vegetables and do not prepare them with utensils that have also been used for raw meat
children and the elderly who are particularly susceptible to the severe effects of STEC should avoid eating or drinking unpasteurised dairy products
people who have been ill should not prepare food for others for at least 48 hours after they have recovered
boil any drinking water if you are unsure of it’s source
do not swim in water that you think may be contaminated by cattle and sheep in nearby fields
wash your hands thoroughly after using the toilet (or helping others including changing nappies), handling raw meat, before meals and after contact with animals
How to treat STEC
There is no specific treatment for STEC infection. The illness is usually self-limiting, and will clear itself within a week.
It’s important to drink plenty of fluids as diarrhoea can lead to dehydration.
Antibiotics are not recommended and are likely to increase the risk of getting complications such as HUS.
Also, stay away from work or school until 48 hours after you’ve stopped vomiting or having diarrhoea.
In sport, sometimes there is no better way to prepare for a fierce rivalry than watching reruns or reading summaries of previous heart-stopping encounters.
The sport’s history is embellished with historic India-Pakistan clashes at every tournament and in every decade.
With the teams set to meet again in the T20 Asia Cup 2025, Al Jazeera Sport picks the three India-Pakistan Asia Cup classics you must revisit before Sunday’s encounter:
2010: Harbhajan is a last-over hero with the bat
The 2010 edition of the Asia Cup was a four-team tournament played entirely in Dambulla, Sri Lanka, where all teams played a round-robin group stage, with the top two progressing to the final.
India beat Bangladesh while Pakistan lost to Sri Lanka, making their June 19 encounter a must-win for the Shahid Afridi-led side.
Pakistan opened with a 71-run partnership between Salman Butt and Imran Farhat. A par total of 267 followed the regular fall of wickets thereafter. India’s fast-medium seamer Praveen Kumar picked up three wickets, but it was Ravindra Jadeja’s left-arm spin that kept Pakistan in check.
Gautam Gambhir and Virender Sehwag opened the batting for India’s chase, and while Sehwag fell after an uncharacteristically slow innings, Gambhir kept going as captain MS Dhoni chipped in with a half-century.
India seemed well set before Pakistan’s spinners struck in the last third of their innings. Gambhir, Rohit Sharma, Dhoni and Jadeja fell in quick succession, leaving India reeling at 219-6 with 49 runs required off 29 balls.
Lower-order batter Suresh Raina had the responsibility to take India home alongside off-spinner Harbhajan Singh. Raina hit Ajmal for 12 off 4 before three economical overs from Shoaib Akhtar and Mohammad Amir.
With eight runs to defend in the final over, Amir made a near-perfect start as Raina ran a single. In a desperate attempt to get back on strike, Raina had a mix-up with Harbhajan and was run out, giving Pakistan the upper hand. India needed seven off four, with Kumar facing Amir. A double and a single brought Harbhajan back on strike for the final two balls.
Harbhajan, who had an altercation with Akhtar a few balls earlier, swung at a length delivery, clearing midwicket for a huge six. The Turbanator then turned towards Akhtar and let out a loud roar as the Indian dressing room celebrated wildly.
India were in the final and Pakistan were nearly out.
Brief scorecard
Pakistan: 267 in 49.3 overs – Salman Butt 74 (85), Kamran Akmal 51 (41); Praveen Kumar 3-53 in 10 overs. India: 271 in 49.5 overs – Gautam Gambhir 83 (97), MS Dhoni 56 (71); Saeed Ajmal 3-56 in 10 overs.
Harbhajan Singh celebrates the win over Pakistan in the Asia Cup in Dambulla [File: Andrew Caballero-Reynolds/Reuters]
2014: Afridi seals it with two sixes and a kiss
The round-robin format continued for the 2010 tournament in Bangladesh.
By the time India faced Pakistan, both teams had one win and one loss and needed a win to bolster their chances for a spot in the final.
Runs flowed off Rohit Sharma’s bat on a quick Mirpur outfield, and India seemed on their way to a big total despite losing Shikhar Dhawan early. Virat Kohli joined Rohit in smashing the Pakistani pacers.
While Rohit went his merry way, India were dealt a blow when Umar Gul dismissed Kohli for five. Regular wickets slowed India’s scoring rate, but they still posted 245, thanks to a late flourish by Ambati Rayudu and Jadeja.
Pakistan’s top-order, particularly Mohammad Hafeez, gave them a good start to the chase. However, it wasn’t long before India’s spin twins Ravichandran Ashwin and Amit Mishra forced a collapse worthy of Pakistani renown. Four batters were dismissed in the space of 42 runs.
Hafeez began the rebuild with Sohaib Maqsood in an 87-run partnership, but both were dismissed in consecutive overs, leaving Pakistan reeling at 203-6 off 45. Maqsood’s run out, in particular, was a gift for India after a huge mid-pitch mix-up with Shahid Afridi, just after Pakistan took the upper hand.
Afridi, the last recognised batter, was joined by Gul as Pakistan required 43 off 30 with four wickets standing. Every Afridi swing of his bat was met with trepidation as the all-rounder was known for attempting big shots irrespective of the match situation.
At first, he targeted Jadeja, hitting him for a four and a six in the 46th. The following over, from Bhuvneshwar Kumar, also brought two boundaries before Mohammad Shami kept Pakistan quiet in the 48th.
Kumar’s next over, with two wickets and just three runs, all but ended Pakistan’s hopes as Afridi watched on from the non-striker’s end.
The final over was handed to Ashwin, who had taken 2-31 in his nine overs thus far. The wily spinner gave India the perfect start by bowling Ajmal first up. Pakistani fans held their heads in disbelief while India’s celebrated wildly.
Junaid Khan was last in, and he played a perfect dab to pinch a single, bringing Afridi back on strike.
With nine needed off four, the stadium held its breath knowing Afridi could sway the match either way.
As Ashwin began his delivery stride, Afridi stepped back and swung hard at a short ball. The connection between was by no means ideal, but Afridi’s power cleared the ropes.
Afridi again gave himself room with the ball pitched closer to his body, but when has that ever stopped Afridi from playing a risky shot? Another wild swing skied the ball, but it again cleared the boundary.
Ashwin was all hands-on-head as the Indian team stood in disbelief.
Afridi was all arms lifted wide in his trademark star-man celebration as Junaid embraced him. A delighted Afridi gave Junaid a quick kiss on the cheek before the star all-rounder was mobbed by his teammates.
Brief scorecard
India: 245-8 in 50 overs – Rohit Sharma 56 (58), Ravindra Jadeja 52 (49); Saeed Ajmal 3-40 in 10 overs. Pakistan: 249-9 in 49.4 overs – Mohammad Hafeez 75 (117), Shahid Afridi 34 (18); Ravichandran Ashwin 3-44 in 9.4 overs.
Shahid Afridi celebrates his risky but rewarding run-chase against India in their Asia Cup 2014 match [File: Andrew Biraj/Reuters]
2016: Kohli trumps Amir in low-scoring thriller
The Asia Cup 2016 was the first played as a T20 and produced one-sided group games until India met Pakistan in the fourth match of the round-robin stage.
Pakistan lost Hafeez to the fourth ball of the match.
A poor umpiring decision, with Khurram Manzoor surviving a caught-behind, left India furious. However, Dhoni’s team didn’t have to wait too long for Manzoor’s departure as Afridi’s men continued to struggle on a low-scoring pitch, losing wickets in every other over.
In a total of 83, Sarfaraz Ahmed’s 25 was Pakistan’s only saving grace. Hardik Pandya led the attack with three wickets, but each of India’s bowlers chipped in, including a then-fresh-faced Jasprit Bumrah.
The chase was seemingly simple, given India’s power-packed batting. Mohammad Amir, playing his first Asia Cup since returning to the team following his cricket corruption-linked ban, had other plans.
The left-arm pacer made a near-perfect start, striking Rohit’s toes with a swinging yorker, only for it to be adjudged not out. There was no surviving the following inswinger, which struck the pads.
Kohli was next in to face the pumped-up Amir, swinging the ball to his will. A single switched strike with Ajinkya Rahane’s first ball ending up being his last, Amir swinging the ball back into the right-hander viciously to strike his pads plumb in front.
Amir’s second over, and India’s third, brought more lbw appeals as Kohli was struck on the pads by another skilful delivery that straightened, but failed to impress the umpire. Amir had his reward next ball, as Raina was the man to go, chipping an easy catch to short mid-on.
Kohli and Yuvraj Singh saw out Amir’s spell, nudging towards the target. Kohli, in particular, showed nerves of steel to see off Amir’s scintillating swing.
The Indian batting star soon reaped his reward, however, settling in to take boundaries off all the bowlers, including Amir’s last.
India’s charge was halted in the 15th when Kohli fell on 49, followed by Pandya, but the team total was 76-3. New batter Dhoni and Yuvraj took six more deliveries to finish the job.
India won by five wickets, but the match could have had a nervy finish were it not for Kohli’s brilliance.
Brief scorecard
Pakistan: 83 runs in 17.3 overs – Sarfaraz Ahmed 25 (24); Hardik Pandya 3-8 in 3.3 overs. India: 85-5 runs in 15.3 overs – Virat Kohli 49 (51); Mohammad Amir 3-18 in 4 overs.
Virat Kohli was the anchor of India’s innings in a low-scoring match against Pakistan in the T20 Asia Cup 2016 [AM Ahad/AP]
On bustling Western Avenue in the heart of Gardena, Sakura-Ya and Chikara Mochi sit about 250 feet away from each other, frequented by South Bay residents for decades for fluffy mochi and cakey manju. They’re two of the only traditional Japanese mochi shops in L.A., with blink-and-you’ll-miss-it signage.
Just a block away is Meiji Tofu Shop, a nearly 50-year-old producer that churns out fresh soy milk and tofu daily. Cross the street to find Otafuku — where the Akutsu family has been serving traditional Tokyo soba since 1997.
You’ll find similar clusters of diverse Japanese food in strip malls across Gardena as well as Torrance, which has the largest East Asian population in all of L.A. The two neighboring cities are home to the biggest suburban Japanese community in the United States — and a decades-old restaurant landscape that feels like a time capsule, yet continues to flourish as a haven for classic Japanese cuisine and hospitality.
“It’s like we’re stuck in the ’90s,” said South Bay native Daniel Son, the chef and owner of Gardena’s Sushi Sonagi. “These days, when everything is monetizing and content creating has to be so fresh, they don’t care. They’re just gonna make great product and quietly do it.”
Japanese immigrants first came to the L.A. area in the late 1800s and early 1900s — many from San Francisco after the 1906 earthquake — as strawberry farmers. Unlike Little Tokyo, which has been subject to the whims of tourists and the changing landscape of downtown L.A., the suburban South Bay has maintained a more stable identity, according to Emily Anderson, a curator for Little Tokyo’s Japanese American National Museum.
“In places like Torrance and Gardena, you have the development and preservation of Japanese American food — it [has] layers of history and struggle, but food ultimately being a source of comfort and identity,” Anderson said.
When Torrance became the site of Toyota’s North American headquarters in 1967, more Japanese immigrants, and food, came with it. Over the next few decades, dozens of restaurants opened in Torrance and Gardena, along with a growing number of Japanese supermarket chains like Tokyo Central, Nijiya Market and Mitsuwa Marketplace, giving neighbors a taste of home.
By the time Toyota left Torrance for Texas in 2017, these businesses had proved themselves integral to the region’s culinary fabric. Their networks, once primarily composed of Japanese immigrants and descendant families, had extended to residents of all backgrounds.
“My plan is to be the last bastion of Japanese food prepared the Japanese way,” said former Tokyo resident Kristen McIntyre, owner of homestyle Japanese restaurant Fukagawa in Gardena.
Many Japanese restaurant owners in the area have a “serve what you want to eat” mindset, said Otafuku owner Mieko Akutsu. “We never adjusted the flavor for American people.”
In her case, that means serving three types of soba, including sarashina soba — a white noodle made using the core of the buckwheat plant — which became known as an upscale dish in Tokyo, where regular, darker soba became a popular working-class meal during the Edo period.
Today, restaurants like Sushi Sonagi, which opened in 2023, along with Michelin-starred Sushi Inaba in Torrance, lead the way in bringing Angelenos — and diners from across the country — to the South Bay, where troves of Japanese restaurants and shops, many immigrant-run and cash-only, shine in all their old-school glory. Many don’t have PR firms or flashy Instagram accounts; some will give you a handwritten receipt and others don’t have websites.
“I felt like [opening Sushi Sonagi] in the South Bay almost celebrates the diversity and the rich Asian American culture that’s very deep here,” said Son, who blends his Korean American heritage into his roughly 20-course omakase. “It’s just really cool to bring more life to an area that I feel like is L.A.’s little secret.”
But sushi is merely the cusp of the region’s offerings. Torrance and Gardena are L.A.’s storied destinations for every type of Japanese food imaginable: Yoshoku restaurants, which combine Japanese and Western cooking, coexist alongside traditional izakayas, yakitori joints and newer businesses that hail from Japan. Use these 18 spots as a starting point for some of the best — and some of the oldest — Japanese restaurants that have quietly put South Bay suburbs on the L.A. dining map.
Britain’s Emma Raducanu fell agonisingly short of beating world number one Aryna Sabalenka and earning a statement win at the Cincinnati Open.
Raducanu, 22, lost 7-6 (7-3) 4-6 7-6 (7-5) as defending champion Sabalenka edged a battle lasting more than three hours to reach the fourth round.
Having also pushed Sabalenka at Wimbledon, Raducanu’s performance was further evidence she can severely test the world’s best as her revival continues.
This season, with the British number one’s fitness issues largely behind her and the development of a new-found resilience, she has climbed back into the top 40.
“As I said at Wimbledon I am really happy to see her healthy – mentally and physically,” said Sabalenka.
“Every time she is improving and I can see she is getting back to her best.
“I’m enjoying fighting against her – she is such an incredible player.”
Raducanu could be seeded among the leading 32 players at the upcoming US Open, providing a more favourable draw – in theory at least – at the hard-court Grand Slam which she won as a teenage qualifier in 2021.
On the basis of this display against Sabalenka, there are plenty of positives for Raducanu to take into the final major of the season.
An Amazon Prime remake of the classic sci-fi War of the Worlds has managed to get the lowest-possible score on Rotten Tomatoes, meaning it has been universally panned
Ice Cube stars in a new version of War of the Worlds, but it has been panned by critics and viewers(Image: Prime Video)
An Amazon Prime remake of a classic sci-fi film has earned the lowest-possible score on Rotten Tomatoes. The streaming platform’s new version of War of the World stars Ice Cube and Eva Longoria, but even having two massive names attached to it did not help things when it came to impressing fans of the original.
On the review-aggregation website, which attracts nearly 80 million film and TV fans on a monthly basis, not one of the 13 reviews is positive and it has therefore been left with a rating of 0%. User ExxtraZY wrote: “I am traumatised. Not because of how graphic it is, but how awful it is. It feels like a 10 year old had a fever dream and decided to write the story at the top of their head.”
The film is the latest in a long line of adaptations based on the HG Wells classic(Image: Prime Video)
A fourth reviewer said: “Stayed 20 minutes longer than I should have because of Ice Cube. But even he couldn’t save this disaster of an adaptation,” whilst one social media user took to X to write: “This new War of the Worlds movie might be the worst movie I have seen in years.” Despite this, some fans who had watched the movie felt that they could defend it.
One wrote: “I felt the story was strong enough to suspend belief. I didn’t care too much about the special effects, I cared about are the kids going to be OK and how this story is different from the many other renditions I have seen,” and another said: “Ok so I am gonna buck the system here. I truly enjoyed WAR OF THE WORLDS. I thought Ice Cube was great – loved the entire cast. Eva Longoria – great. Loved the kids. What is the problem here??”
One irate viewer took to X to vent: “War of the Worlds (2025) is the worst adaption of the source material to date. It had no ideas beyond the found footage approach, and even then the film is struggling to find ways to present coherent scenes.
“Ice Cube is so lost. Maybe one of the worst movies I’ve ever seen. Most of the film just doesn’t make sense because they’re trying to rush through a mountain of developments.
The latest version of War of the Worlds, which focuses on an attempted alien invasion, was released last week on the streaming service. But the original novel by HG Wells was published in 1898, and the story has been adapted for the screen multiple times.
After first being broadcast on the radio in the late 1930s, three film adaptations were releases from 1953 and 1981. In 2005, Tom Cruise starred alongside a young Dakota Fanning in a modern remake of the Victorian classic.
The synopsis for the latest incarnation of the story reads: “‘A gargantuan invasion is coming with this fresh take on the legendary novel of the same name. Renowned actress Eva Longoria is joined by iconic rapper and actor Ice Cube, along with Michael O’Neill and Iman Benson, for a thrilling out-of-this-world adventure that is filled with present-day themes of technology, surveillance, and privacy.”
This one features original open coachwork by famed Parisian coachbuilder Joseph Figoni, with desirable Monza cowl.
As a bare chassis, these vehicles were available on the road in both short and long-wheelbase models, with coachwork that could be commissioned by the customer.
It could be done through firms such as Touring, Zagato, and lesser known Carrosserie Figoni, that provided a high quality build, fine woodwork, luxurious interiors and elegant styling.
Figoni is said to have outfitted seven road-going 8C 2300s between 1932 and 1935 on a built-to-order basis.
The striking two-seater Torpedo that is displayed on the 1933 vehicle was ordered to Paris by Alfa Romeo’s first owner, Louis Jeantet.
It includes a rare Alfa Romeo Paris badge, a folding soft top with exposed bows, long fenders, a separate trunk, and dual-mounted spares.
French luxury car authors, Peter M. Larsen and Ben Erickson, described the car as having: “A body that would be plain from the hand of any other carrossier, but its austerity is alleviated by handsome and perfectly balanced proportions that achieve an understated yet exciting look…
Alfa Romeo from legendary episode of BBC comedy up for sale at just £30k
“It is a classic sportscar style conceived at the cusp in time just before aerodynamic thinking changed car design forever.”
There are no side windows on the cars vody, or curtains, beltine or other ornamentation.
Nevertheless, the 8C 2300 boasts an all-aluminium 2.3L twin-cam straight eight that is supercharged to produce 138 horsepower.
It has been dubbed the “premier prewar Italian sports car”, with 140 BHP at 4,800 RPM.
4
The car only has 138 horsepowerCredit: Gooding & Company, LLC. Photos by Mathieu Heurtault
4
The car won iconic races like the 24-hour Le Mans raceCredit: Gooding & Company, LLC. Photos by Mathieu Heurtault
Last year, another iconic Le Mans racing car hit auctions, and was expected to sell for an eye-popping £7million.
It was a 1954 Jaguar D-Type, that clocked a blistering 172.97 miles per hour.
And earlier this year, another rare Alfa Romeo supercar was bought by a British man to impress his wife on their 1956 honeymoon.
He bought an Alfa Romeo 8C from 1932, for £3million at auction.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
As awards season begins to take shape, this week the New York Film Festival announced its closing night selection: the world premiere of Bradley Cooper’s “Is This Thing On?”
Starring Will Arnett and Laura Dern as a couple on the brink of splitting up when he immerses himself in the world of stand-up comedy, the film has been described as a “pivot” from Cooper’s previous directing efforts “A Star Is Born” and “Maestro.”
Will Arnett in Bradley Cooper’s “Is This Thing On?,” which will have its world premiere on closing night of the New York Film Festival.
(Jason McDonald / Searchlight Pictures)
Dennis Lim, artistic director of the NYFF, said that in putting together a program each year, he doesn’t mind drawing from films that have already premiered at festivals throughout the year, including Sundance, Cannes, Venice, Telluride, Toronto and others.
“How do we make a case for cinema as an art form that is still vital and relevant? I think programming the New York Film Festival is answering this question,” said Lim. “If I’m going to put forward a list of films that makes the case for cinema as an art form that matters today in 2025, which are the films that I’m going to put forward as evidence? The program is our answer to that question.”
John Woo on Hong Kong action cinema
Chow Yun-fat, left, and Danny Lee in John Woo’s “The Killer.”
(Shout! Studios)
The stylish, delirious action cinema that emerged from Hong Kong in the late 1980s and early 1990s redefined the genre, creating a visual grammar and thematic template that is still wildly influential to this day. The American Cinematheque and Beyond Fest, in partnership with Shout! Studios and GKIDS, are launching “Hong Kong Cinema Classics,” a series to celebrate these explosively exciting films.
Due to tangled rights issues, many of these movies have been largely out of circulation in the U.S. for years. To have them now remastered in 4K from original camera negatives is a thrill and puts them back in front of audiences where they belong.
The series will launch Saturday with the U.S. premiere of the new restoration of John Woo’s 1992 “Hard Boiled,” his final film made in Hong Kong before coming to the U.S., starring Chow Yun-fat, Tony Leung and Anthony Wong. Woo himself will be present for the screening at the Egyptian Theatre and will return on Sunday for 1989’s “The Killer” and a triple-bill of the “A Better Tomorrow” trilogy.
Other films in the series include Woo’s “Bullet in the Head,” Ringo Lam’s 1987 “City on Fire,” Tsui Hark’s “Peking Opera Blues” and Ching Siu-tung’s trilogy of “A Chinese Ghost Story” films.
Director John Woo, photographed in Los Angeles in 2023.
(Jay L. Clendenin / Los Angeles Times)
After relocating to America in 1993, Woo would go on to make a string of English-language films in Hollywood such as “Hard Target,” “Broken Arrow,” “Face/Off,” “Mission: Impossible 2” and “Windtalkers” as well as the more recent “Silent Night” and a 2024 remake of “The Killer.”
Speaking from his home in Los Angeles recently, Woo noted what it means to him that audiences still respond to his Hong Kong films.
“I so appreciate all the fans — for all these years they still give me great support,” said Woo, 78. “That’s why I’m so excited. It’s hard to believe that after so many years, I still have a chance to meet the audience and the audience is still excited about it. So I’m very proud.”
The Hong Kong action movies celebrated in the series slowly found their way to western audiences via festival screenings, limited theatrical releases and eventually home video.
Writing about “The Killer” in 1992, The Times’ Kevin Thomas said, “Sentimentality and violence have gone hand-in-hand from the beginning of the movies, but seldom have they been carried to such extremes and played against each other with such effectiveness.”
For Woo, there was a creative freedom while making his movies at that time. Proven Hong Kong directors were often allowed to largely do what they wanted without interference.
“In the rest of the world, I’ve been told there are very clear rules for every kind of movie,” said Woo. “The comedy is comedy. Action is only for the action fan and people who enjoy the melodrama never go to see the action movie. So each kind of movie has a certain kind of audience. But for the Hong Kong film, it is so much different. We had — in one movie — a human drama, a sense of humor and then the action. We can put everything all together.”
Chow Yun-fat, left, and Tony Leung in John Woo’s “Hard Boiled.”
(Shout! Studios)
In a 1993 profile of Woo by Joe Leydon, writer-director Quentin Tarantino, then known only for his debut “Reservoir Dogs,” lavished praised on his fellow filmmaker, saying “John Woo is reinventing the whole genre. The guy is just terrific — he’s just the best one out there right now.”
Tarantino added, “After I saw ‘A Better Tomorrow,’ I went out and bought a long coat and I got sunglasses and I walked around for about a week, dressing like Chow Yun-fat. And to me, that’s the ultimate compliment for an action hero — when you want to dress like the guy.”
Woo has always been open about the influence of filmmakers such Jean-Pierre Melville, Sam Peckinpah and Martin Scorsese on his own movies.
“I just feel like we are all in a big family,” said Woo of his enduring influence, which you can see evidence of as recently as the “John Wick” franchise. “We are all learning from each other. Every time it’s a learning process for me.”
Alex Ross Perry visits ‘Videoheaven’
Maya Hawke records the narration for Alex Ross Perry’s “Videoheaven.”
(Cinema Conservancy)
Having already released the boldly form-defying hybrid documentary “Pavements” this year, filmmaker Alex Ross Perry continues his adventurous streak with “Videoheaven,” an epic essay film about the rise and fall and continued life of video stores and their importance to film culture, with narration by Maya Hawke.
Perry will be in-person for a series of L.A. screenings this week, starting at Vidiots on Wednesday for a Q&A moderated by “The Big Picture” podcast co-host Sean Fennessey. On Thursday, the film will play at Videothèque with Perry in conversation with the store’s co-manager, Lucé Tomlin-Brenner. On Friday, Aug. 8, the film will play at the Los Feliz 3 with an introduction by Perry.
Points of interest
‘Zola’
Riley Keough, left, and Taylour Paige in “Zola.” Its director, Janicza Bravo, will attend the movie’s screening Thursday at the Academy Museum.
(Anna Kooris / A24)
The Academy Museum is screening Janicza Bravo’s 2020 “Zola” on Thursday with the filmmaker in person. Written by Bravo and Jeremy O. Harris, the film is based on a notorious 2015 Twitter thread by A’Ziah “Zola” King that chronicled an uproarious tale of a road trip gone very wrong. With a cast that includes Taylour Paige, Riley Keough, Nicholas Braun and Colman Domingo, the film plumbs disorientation and information overload both with equal skill.
Bravo, who has directed recent episodes of “The Bear” and “Too Much” (also appearing in the latter as an actor) spoke at the film’s release about balancing outrageous humor with the darker currents of its story, which touch on complex issues around sex work, sex trafficking and race.
“If it were a not funny movie about sex work and sex trafficking, I don’t think that I would be the right director for it,” said Bravo. “But A’Ziah King, who wrote this story, had imbued it with so much dark humor — you’re laughing at some of the most disturbed moments. … Her way of exorcizing her trauma — it feels so familiar to me. I feel so close to it. This is how I move through the world.”
“Zola” is screening as part of the series “American Gurl: Seeking…” which spotlights coming-of-age films about women of color. Also upcoming in the series is Martine Syms’ “The African Desperate”; Minhal Baig’s 2019 “Hala,” starring Geraldine Viswanathan; Nisha Ganatra’s “Chutney Popcorn” in 35mm with the filmmaker in conversation with Fawzia Mirza; Robert Townsend’s 1997 “B.A.P.S.” in 35mm with screenwriter Troy Byer and Spike Lee’s “Girl 6” in 35mm.
‘Taxi Zum Klo’
The 45th anniversary re-release poster for “Taxi Zum Klo.”
(Altered Innocence)
For its 45th anniversary, Frank Ripploh’s 1980 German film “Taxi Zum Klo” is returning to theaters in a new 4K restoration. A semi-autobiographical tale of a schoolteacher (played by Ripploh) exploring Berlin’s queer underground scene, the film was groundbreaking for its unapologetic candor. The film will have a limited run at the Los Feliz 3, playing on Aug. 5, 10 and 12.
In a 1981 review of the film, Sheila Benson wrote, “Films like ‘Taxi’ as so rare as to be unique, a collage of cinema journalism, an unblinking (but selective) view of homosexual life and intensely personal sexual images.”
Merle Oberon and ‘Dark Waters’
Merle Oberon, center, in 1944’s “Dark Waters.”
(United Artists / Photofest)
On Saturday the UCLA Film and Television Archive will have a 35mm screening of André de Toth’s 1944 “Dark Waters,” starring Merle Oberon. Along with the film there will be a Q&A with Mayukh Sen, author of the book “Love, Queenie: Merle Oberon, Hollywood’s First South Asian Star,” moderated by programmer and critic Miriam Bale. Sen will also do a signing before the screening.
A tense thriller that combines elements of Southern Gothic and film noir, the movie is about an heiress (Oberon) who finds herself taking refuge at a relative’s Louisiana plantation. She becomes embroiled in local intrigues and entanglements.
Writing about the movie in 1945, Philip K. Scheuer said, “The production builds suspense rather ingeniously, and culminates in an exciting night-shrouded chase in and around the bayou. … Miss Oberon never tops her initial outburst of hysterics, which I found pretty terrifying, but it is nice to see her in the part.”
In other news
‘Cat Video Fest’ returns
An image from “Cat Video Fest 2025.”
(Oscilloscope Laboratories)
The “Cat Video Fest” is back for its eighth installment, playing at Vidiots, the Alamo Drafthouse DTLA and multiple Laemmle locations. Created and curated by Will Braden, the series has raised more than $1 million since 2019 to help shelters, support adoptions and foster care and volunteer sign-ups.
Yes, you can watch plenty of cat videos on your phone. But sitting in a theater delighting in them with an audience is something else entirely.
As a deep-pocketed producer, David Ellison helped breathe new life into Paramount franchises including “Mission: Impossible,” “Star Trek” and “Top Gun.”
But can the high-flying son of a billionaire make a full-fledged media company airworthy again? Can he use Silicon Valley money and movie business know-how to restore the legacy of one of the entertainment industry’s original studios, following a deal clinched through an act of political appeasement?
Those are the questions Hollywood talent, studio rivals and insiders will be asking as Ellison takes the controls of the new Paramount, after regulators finally approved the long-awaited $8-billion merger with his Santa Monica production company Skydance Media. The deal — two years in the making, and approved by the FCC only after a $16-million settlement with Trump and promises to mindwipe any trace of DEI from the company — is expected to close Aug. 7.
After that, Ellison, backed in large part by his father, Oracle Corp. co-founder Larry Ellison, will bring in his own team to face the daunting challenges.
Chris McCarthy, the architect of Paramount’s recent streaming strategy, is out. Paramount Pictures and Nickelodeon head Brian Robbins is also expected to exit while CBS chief George Cheeks is staying. The incoming management team includes former NBCUniversal Chief Executive Jeff Shell, who is currently a heavyweight at Ellison’s bidding partner RedBird Capital.
Skydance Chief Creative Officer Dana Goldberg will run the film studio, and former Netflix executive Cindy Holland will play a major role at the new company. Also joining is Sony Pictures movie executive Josh Greenstein.
This may be a different team from the one that labored under outgoing controlling shareholder Shari Redstone, but it’ll be contending with most of the same problems.
Paramount is dogged by issues buffeting all legacy media companies, including the decline of traditional TV ratings, the post-COVID-19 realignment of the theatrical box office and the escalating costs of sports rights, as my colleague Stephen Battaglio and I reported last week. Those difficulties were exacerbated at Paramount by chronic underinvestment and years of shambolic leadership, as corporate governance experts have long pointed out.
Ellison has direct experience with movies, having produced many of them, including some of Paramount’s biggest hits (as well as some notable flops). He’s less steeped in running TV channels and streaming services, which have urgent needs. The scion is also coming in to make good on a promise to investors: to find $2 billion in cost cutting, which will mean layoffs and disruption.
Paramount+ has been growing, thanks in part to the NFL, CBS shows and a run of original hits including “Landman,” “1923” and “Tulsa King.” But the service has lost money for years, and the app is clunky. (It’s expected to reach full-year U.S. profitability in 2025.) McCarthy spent big bucks on talent, including Taylor Sheridan and the creators of “South Park,” enough to make Matt Stone and Trey Parker billionaires, according to Forbes.
Analysts say the service will need substantial investment in content and technology to make it competitive while also partnering with other companies to increase its reach through discounted bundles and other initiatives.
The new owners will have to decide what to do with the cable channel business, which includes such eroding brands as MTV, BET and Comedy Central.
Many observers tend to assume Ellison will eventually spin those off, following the lead of NBCUniversal and Warner Bros. Discovery. In a sadly comical reminder of what can happen with a merger gone wrong, David Zaslav’s Warner Bros. Discovery on Monday announced that the two companies resulting from its pending breakup will be called — wait for it — Warner Bros. and Discovery Global.
TD Cowen analyst Doug Cruetz, in a recent note to clients, speculated that Ellison didn’t buy the Paramount assets just to “break it up for parts.”
We’ll see.
Another looming and potentially costly issue is the NFL’s relationship with CBS Sports. The change of control will trigger an early renegotiation of Paramount’s contract with the league once the transaction closes. That’s important because the NFL has significant leverage in dealmaking, considering that its games account for the vast majority of most-watched programming on television.
Ellison has promised to bring technological enhancements to Paramount. That would mean a more functional app for Paramount+ and an improved personalized recommendation system. It might mean using tech to make movies cheaper and faster. A year ago, Ellison noted a partnership between Skydance Animation and Oracle to build a so-called studio in the cloud. What technology can’t do is pick the movies people want to see, and that’s where the new leadership group will have to prove themselves.
But the biggest hurdle will be overcoming the stain covering the deal itself after the concessions required to get it over the finish line.
Paramount paid a substantial sum to make peace with President Trump, who had sued the company over CBS News’ “60 Minutes” interview with his 2024 election rival, then-Vice President Kamala Harris. The case was frivolous, 1st Amendment experts said. But the Redstone family and the Ellisons were desperate to get the deal done. As a result, the new company is starting off on a crooked foundation, as one Hollywood insider put it to me.
Stephen Colbert, speaking on “The Late Show,” called Paramount’s settlement a “big fat bribe.” Days later, he learned that his show would be ending in May. Even assuming the company told the truth in saying that the cancellation was a purely financial decision (i.e., the show was too expensive and it was losing money), the optics were bad.
Comedians responded the way comedians do. The “South Park” team, having secured a $1.5 billion deal to bring the long-running animated series to Paramount+, opened their 27th season with, effectively, a pair of middle fingers raised to Trump and their parent company.
The show depicted a flapping-headed cartoon Trump in bed with Satan, similar to its past portrayal of Saddam Hussein, and ended with an AI-generated PSA showing the president wandering the desert and stripping naked, revealing tiny, talking genitalia.
The Trump settlement cast a pall over whatever plans Ellison has. CBS News lost key figures in part due to Paramount’s push to reach a peace accord with the president (Tanya Simon being named to run “60 Minutes” is seen as a relief). But whatever you say about the corporate behind-the-scenes machinations that took place to make the deal happen, you can’t say the artists have lost their spine.
Newsletter
You’re reading the Wide Shot
Ryan Faughnder delivers the latest news, analysis and insights on everything from streaming wars to production — and what it all means for the future.
You may occasionally receive promotional content from the Los Angeles Times.
Stuff we wrote
Number of the week
In a return to form for Walt Disney Co.’s Marvel Studios, “The Fantastic Four: First Steps” opened with a robust $118 million in the U.S. and Canada and $218 million globally, according to studio estimates, slightly outperforming prerelease projections.
This comes after middling results and poor reviews for “Captain America: Brave New World” and tepid sales (but better reviews) for “Thunderbolts*.” Last summer’s “Deadpool & Wolverine” was a $1.34-billion hit.
Like Deadpool and Wolverine, the Fantastic Four — known as Marvel’s first family — came to Disney through the company’s acquisition of 21st Century Fox entertainment assets. Fox made three “Fantastic Four” movies, all bad. “First Steps” earned mostly positive reviews from critics and fans (88% on Rotten Tomatoes; “A-” from CinemaScore).
The $218-million global opening weekend was similar to that of James Gunn’s DC reboot “Superman,” released earlier this month. That film just crossed the $500 million box office milestone, with a strong $289 million domestically and a less-impressive $213 million overseas.
Theaters have been on a winning streak this summer. So far this year, ticket sales are up 12% from 2024, according to Comscore. But the rest of the season looks thin. Next weekend features Paramount’s “The Naked Gun,” Universal’s animated “Bad Guys 2” and Neon’s Sundance horror breakout “Together,” starring real-life couple Dave Franco and Alison Brie.
Finally …
One marker of a great artist is the number and diversity of musicians who take inspiration from their work. And Ozzy Osbourne, the Black Sabbath frontman who died last week, had plenty of admirers who covered his songs.
The Times’ Mikael Wood already rounded up the Prince of Darkness’ 10 essential tracks. Here are some of the best covers, with help from Rolling Stone and Loudwire.