closing

The drop-off in Belfast is an issue when it comes to Antrim’s future.

In December 2024, the county launched a new five-year strategic plan, addressing a range of issues including player retention and development.

At present, there are 51 clubs in Antrim, comprising of approximately 20,000 members of which 15,000 are players, but when it’s considered the population of west Belfast alone is over 100,000, there is potential for much more.

Since St Gall’s record-breaking run of of eight county titles in a row ended in 2014, the Padraig MacNamee Cup has been in Belfast just once when Cunningham’s Lamh Dhearg triumphed in 2017.

“There is a question of participation levels, but the standard of underage football in Belfast is quite poor and there’s no point dressing it up,” Cunningham insists.

“Aside from St Brigid’s and St Paul’s who can compete at U16 and minor level because of the numbers they have, the rest – and I include my own club – are scrapping to get teams out on the pitch.”

No school from within the county plays in the Ulster Colleges MacRory Cup and exposure to top-level competition at a young age is one area Cunningham, a teacher at St Mary’s CBGS, feels is vital to raising standards which will feed into county teams.

“There is no school competing at colleges’ ‘A’ football apart from St Louis [Ballymena] in Year Nine.

“If the Gaelfast, Belfast city combined team is harnessed correctly over a number of years, there is something in that, but it requires buy-in.

“They’ve piloted it this year with Year Nine and Year 12, but does that continue into Year 10 next year? It needs to be continued with the same panel or else by the time they get to Year 12, you’re back to square one as it takes time for a squad to gel.

“It needs to be piloted from Year Eight right through to Year 14 to see how it goes.”

WHO can say they don’t love being embroiled in the world of spies in the world of fiction at least?

Well, soon Brits will get to learn more about the actions of some of the real-life secret agents of World War II at a historic mansion that’s been closed since 2012.

Trent Park House in Enfield has announced it will reopen this year with its new ‘House of Secrets‘ museum.

Inside will be renovated rooms and a dedicated space to its history of espionage.

During World War II, Trent Park House was used by the War Office for the secret British Intelligence unit, MI9.

It was used to hold German generals and staff officers captive between 1939 and 1945 as part of an operation codenamed M-Rooms.

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The soldiers were treated fairly well with rations of whisky and they were allowed regular walks on the grounds

But what they didn’t know was that they were under surveillance from bugs that were planted all over the estate.

Listening devices were everywhere, in the walls, light fittings, plant pots, window ledges – even the garden benches.

In the basement of Trent Park House were the ‘squads’ who worked in three ‘M’ (miked) rooms, who listened to and transcribed the recordings to aid the British during the war.

All of this will be able to be explored when part of the house reopens later this year.

Trent Park House will also transform back to its former glory during the 1920s and 30s when it was owned by Sir Philip Sassoon.

The British politician and aristocrat turned the estate into a grand country home and hosted high profile guests like Winston Churchill, Fred Astaire and Charlie Chaplin.

Some of the furnishings and artworks once belonging to Sassoon will return to the house and be displayed there for the first time since the 1930s.

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When it reopens, the house will have a new visitor café with terrace seating area on the ground floor.

Trent Park House was later used for education with the Middlesex University using the site until 2012.

It was then bought by the Berkley Group who are converting part of the estate, including some of the mansion, into luxury homes.

The house is currently undergoing renovation and will reopen in summer 2026 – although no opening date has been revealed yet.

But visitors are welcome on Trent Country Park estate to explore its 413-acre park.

The grounds are open year-round with woodlands, trails, lakes and meadow with free parking and a café.

In the meantime, when it comes to other attractions in the UK, the Natural History Museum has been recently named the most popular in the country.

The Association of Leading Visitor Attractions (ALVA) revealed 7.1million people visited last year.

Over the next couple of years, the Natural History Museum is also working on new openings.

A new Human Nature pop-up display will open in September 2026, inside a gallery that has been closed for 80 years.

There will also be a prototype of one of the Crystal Palace dinosaurs, a monk seal called Jenny ‘the talking fish’ and a handaxe that was discovered alongside the remains of a woolly mammoth in 1859.

Later in 2027, there will be a new permanent gallery specifically for young children.

For more on UK attractions, here are 20 of the most-visited in England that are free to enter.

And check out London’s ‘best family attraction’ is about to get even better – with huge new outdoor play area and cafe next month.

One of L.A.’s most unique art galleries is closing up shop.

Gallery 1988, which opened in 2004 and proclaimed itself “the first pop culture-focused art gallery in the world,” will cease operations at the end of April. In a post on Instagram, gallery owner Katie Sutton said that while the gallery had been forced to close its physical space on Melrose a few years back, she had “really tried to keep things going [online], especially for our amazing artists.” Unfortunately, she wrote, “the [art] market is the worst I’ve seen it in over two decades,” and the decision to close became inevitable.

A launching pad for artists whose work paid tribute to television, film, video games and more, Gallery 1988 was renowned for shows like the annual “Crazy 4 Cult,” which showcased pieces celebrating underground classics from across the entertainment space. It also specialized in single-focus shows like “Weird Al,” which celebrated the career of the oddball recording artist “Weird Al” Yankovic, and “You’re the Very Best, Like No One Ever Was,” which paid tribute to the world of Pokémon.

Exhibitions at Gallery 1988, which is closing after 20 years, often featured lines around the block, with fans who camped out for a chance to score a prized piece.

(Courtesy of Gallery 1988)

Perhaps most famously, the gallery collaborated with studios to create art-focused campaigns around properties such as “The Avengers” and “Star Wars: The Force Awakens,” while also launching solo shows from artists like Scott C, Luke Chueh and Tom Whalen.

Gallery 1988 was renowned for selling work that ranged in price from $10 into the thousands, enabling customers from around the world to buy pieces that spoke to them, whether a postcard-sized digital print or a large oil-on-canvas painting.

A number of other galleries have closed in recent months across Los Angeles, including Blum, Nino Mier Gallery, Clearing, Tanya Bonakdar Gallery and L.A. Louver. Sutton says that she’s heard through the gallery grapevine that “even galleries that haven’t closed are struggling,” adding that “it’s a hard time for everybody.”

Though there’s never one reason a business closes, some industry observers and art fans have cited the rise in AI-generated content potentially devaluing original art overall. It’s especially true in the pop culture space, with consumer activity down not just at places like Gallery 1988 but also at events such as WonderCon in Anaheim, where artists could often expect to make a good chunk of change.

Jensen Karp, who co-founded Gallery 1988 with Sutton but stepped back after a health scare nearly two years ago, says that while he certainly sees a “malaise in culture because of AI” that’s indicative of the population “losing the understanding of what true art is,” he wouldn’t attribute the collapse of Gallery 1988 solely to that one thing.

Kristin Tercek “Rejoice” 2015 for the “Force Awakens” show with Disney, LucasFilm and Unicef at Gallery 1988.

(© Kristin Tercek / courtesy of Gallery 1988)

“Our customer base was the people who looked up release dates and who went to the Arclight, and that sense of community is just not there anymore post-pandemic,” Karp says. With the entertainment industry struggling in L.A. as well, that means less disposable income floating around for things like art — especially from the kinds of people who might be inclined to buy a portrait of, say, Steve Martin in the movie “The Jerk.”

Greg Simkins, a California based artist who often sold through Gallery 1988 under the name “CRAOLA,” says he’s felt the impact of the entertainment industry’s contraction firsthand. “People like directors, producers and actors were some of our biggest clients,” Simkins says. “All of the sudden they’re leaving, going to places like Atlanta and Canada. AI is screwing up the movie industry too, and those are the kinds of people who had expendable money to buy original art so it trickles down.”

It doesn’t help that there’s more pop culture-centered art floating around now, and not just on sites like Instagram and Etsy. Though Gallery 1988 was a frontrunner in celebrating popular culture through art when it opened, even hosting a “Rick and Morty”-themed show before the Adult Swim series had a lick of merchandise, it also became a proof of concept for companies including Disney and Netflix, which have started selling their own artist-created material inspired by their properties.

And with Hollywood releasing fewer movies into theaters, the base of what Gallery 1988 artists could pay tribute to also began to contract. Frequent gallery contributor Whalen says that when Gallery 1988 opened, it was filling a niche and “creating fresh content for movies that spoke to” people in their 20s and 30s. Over time, though, art that celebrated properties like “Ghostbusters,” “Back to the Future” and “The Goonies” started to overwhelm the market, causing “a lot of the 1970s and ‘80s movies to become stale,” Whalen says.

Scott C’s “Breaking Bad Upon the Mount,” 2012, for the “Breaking Bad Art Project: With Sony and Vince Gilligan” at Gallery 1988.

(© Scott C. / courtesy of Gallery 1988)

While Sutton and Karp both say they’re beyond grateful that they got to open Gallery 1988 in the first place, let alone keep it open for more than 20 years, they’re worried about what closing the gallery will mean to some of their contributing artists.

“There are so many incredible artists out there and there are so many more places for them to show their work now and that’s amazing,” Sutton says. “But with that bombardment of media from everywhere, it’s hard to really see stuff because it’s coming at you from all directions. So many artists are out there trying to make a living and support their families and that’s just becoming harder and harder.”

“So many of the artists we showed never expected to have an art gallery email them,” Karp says. “I’m so proud of all the artists we worked with and what we were able to do, but I also know that [Gallery 1988 shutting down] closes up an avenue for all of them too and that sucks.”

ORLANDO, Fla. — Environmental groups on Tuesday asked a federal appellate court panel to drop its temporary halt of a lower court’s order instructing state officials to close an immigration detention center in the heart of the Florida Everglades known as “Alligator Alcatraz.”

The Everglades facility remains open, still holding detainees, because the appellate court in early September relied on arguments by Florida and the Trump administration that the state had not yet applied for federal reimbursement, and therefore wasn’t required to follow federal environmental law. State officials opened the detention center last summer to support President Trump’s immigration crackdown.

Questions by the three appellate judges during oral arguments in a Miami courtroom focused on how much control the federal government had over the state-built facility and under what circumstances an environmental review was required to be in compliance with federal law. The judges did not indicate when they would rule.

Jesse Panuccio, an attorney for the Florida Department of Emergency Management, told the judges federal funding and federal control of the facility were the two criteria for determining if the federal environmental law would apply and the federal agencies had no control over the state-run detention center.

Florida was notified in late September that FEMA had approved $608 million in federal funding to support the center’s construction and operation.

“You need both,” Panuccio said. “Even with funding, I don’t think that would follow because they don’t have federal control.”

An attorney for the environmental groups said the law requiring a review applied to the facility because the Department of Homeland Security had authorized the funding and immigration was a responsibility of the federal government, not the state.

“What is different about this property is that immigration is constitutionally a federal function,” said Paul Schwiep,” an attorney representing the Friends of the Everglades and the Center for Biological Diversity. “The state has no role.”

The federal district judge in Miami in mid-August ordered the facility to wind down operations over two months because officials had failed to do a review of the detention center’s environmental impact according to federal law. That judge concluded that a reimbursement decision already had been made. The appellate court halted the order on an appeal.

The environmental lawsuit was one of three federal court challenges to the Everglades facility since it opened. In the others, a detainee said Florida agencies and private contractors hired by the state had no authority to operate the center under federal law. The challenge ended after the immigrant detainee who filed the lawsuit agreed to be removed from the United States.

In the third lawsuit, a federal judge in Fort Myers, Fla., ruled the Everglades facility must provide detainees there with better access to their attorneys, as well as confidential, unmonitored, unrecorded outgoing legal calls.

Schneider writes for the Associated Press.

If you’re looking for the most elegant way to wrap up our “little excursion” in Iran, it’s this: President Trump should follow what might politely be called the “declare victory and head for the airport” strategy.

You know the drill: Announce that we’ve set back Iran’s nuclear programs a decade, pounded their navy into submission, and turned the ayatollah into a fine mist. Mission accomplished! Thank you for flying the friendly skies, and please return your seat backs to their full upright and locked position.

Don’t get me wrong. This “cut and run” routine is less than ideal. Trump will have signaled to the world he (we) can’t endure any insurgent resistance, empowered the Islamic Revolutionary Guard Corps to run the country and likely angered Israel in the process.

But his domestic political base will believe he won, and fan service has always been his top political priority.

Besides, once you’ve entered a war without a coherent justification, clearly defined goals or a credible exit strategy, you’re lucky to get out at all. A salutary outcome no longer exists; that ship has already sailed.

Speaking of which, as I write this, we are drifting toward what feels like a point of no return. Mining the Strait of Hormuz, which Iran is now attempting to do, is the ultimate trump card.

Using mines to shut down this narrow shipping lane — which contributes about 20% of the world’s oil supply, not to mention natural gas and fertilizer — could result in a crippled global economy, mass casualties and a situation in which the president can no longer save face while cutting and running.

As retired U.S. Navy Adm. James Stavridis writes, “Iran has been planning a Strait of Hormuz closure operation for decades and probably has more than 5,000 mines; just one hit can severely damage a thin-skinned tanker.”

Yes, once laid, minefields can be cleared. But Stavridis predicts it would take “weeks, if not a month or two” to clear thousands of mines. He warns: “The global economy needs to be prepared for a month or two shutdown.” (Complicating matters is the fact that our dedicated minesweepers were recently decommissioned.)

The Iranians are not idiots. They watch American politics. They understand that Trump’s pressure point isn’t Tehran — it’s the S&P 500. A bad week on Wall Street makes him jumpier than a long-tailed cat in a room full of rocking chairs.

Trump, whatever else you say about him, is a transactional materialist who approaches geopolitics the way a real estate developer approaches zoning disputes: What’s the angle, where’s the leverage, and can everybody just settle already?

Unfortunately, the fellows running Iran are religious zealots who believe — deeply, sincerely and somewhat alarmingly — in something larger than quarterly economic indicators. Their strategic plan appears to consist of two options: survive (which they see as tantamount to victory), or die gloriously while insisting they meant to do that all along.

Which makes their current behavior grimly logical.

The Iranian regime, such as it is, doesn’t have much to lose. But they know exactly what Trump has to lose: His popularity and political legacy are now tied to the price of oil.

Releasing U.S. strategic oil reserves will help to some extent, but this is not a long-term solution. And Iran is betting that when the price at the pump for U.S. consumers starts looking like a luxury car payment, Trump will do what critics like to summarize as TACO — “Trump Always Chickens Out.”

Lots of American political observers agree. And it’s not just moderates or RINOs who are teasing this.

Referring to the U.S. military, former Speaker of the House Newt Gingrich told Larry Kudlow on Fox Business: “They have to keep the Strait of Hormuz open. I don’t care what it costs.”

“If they can’t keep it open,” Gingrich continued, “this war will, in fact, be an American defeat before very long, because the entire world, including the American people, will react to the price of oil if the strait stays closed very long.”

Perhaps the U.S. military can pull off a delicate trick: keep our “armada” in the region, keep the Strait of Hormuz open, clear any mines that are laid and prevent some unlucky tanker from being hit by a mine — or, for that matter, by a drone or missile fired from the Iranian coast. That final risk is why some military analysts believe reopening the strait would require a ground operation.

Imagine that the U.S. manages to thread these needles. Then what?

Total and complete surrender? Regime change? Boots on the ground?

Absent a swift exit (like, tomorrow), we’re left with the two classic options of power politics: a delayed and more ignominious retreat or increased escalation.

And, historically speaking, American presidents are more likely to double down — with tragic results.

Matt K. Lewis is the author of “Filthy Rich Politicians” and “Too Dumb to Fail.”