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Tudor has been out of work since being sacked by Juventus in October 2025 and is set for his first spell in England, after previously taking charge of clubs in Italy, France, Turkey, Croatia and Greece.

He is tasked, first and foremost, with easing Tottenham‘s relegation fears, after a 2-1 loss to Newcastle in Thomas Frank’s final match on Tuesday left them five points above the bottom three.

Having earned a reputation as a no-nonsense defender during a playing career in which he won 55 caps for Croatia and made more than 150 appearances for Italian giants Juventus, there is one certain non-negotiable for Tudor as a manager.

“He asks his players to run a lot. In a previous interview he said ‘If you don’t run, you don’t play’,” says L’Equipe journalist Pierre-Etienne Minonzio.

“In his one season in Marseille it was always the same way of playing – 3-5-2 – and it was great to watch.

“It was not easy because Marseille’s best player was Dimitri Payet, a very gifted player but not well-known for running, and he didn’t play.

“It was a joke in L’Equipe – if Igor Tudor had Lionel Messi in his squad, Messi would not play!”

Tudor’s sole season in France saw Marseille finish third behind Paris St-Germain and Lens, despite surpassing the club’s points total from the previous campaign when they finished second.

“He did pretty well in Ligue 1. What I liked is that he doesn’t try to be liked. He is very direct, says what he thinks and doesn’t try to be attractive. There is no seduction,” says Minonzio.

“It is the same with the players. He keeps his distance and his obsession is to make training intense with a lot of running so they can be physically fit for the game.”

Thundering drums and shredding guitar solos cut through the crowd as pyrotechnics and streamer cannons blast. The energy and production feel like a show at the Hollywood Palladium or the Forum, but we’re at Knott’s Berry Farm, on the rooftop of a big red doghouse — that is if we can suspend our disbelief for an evening. The educational rock band Jelly of the Month Club along with guest musicians Charlie Brown, Lucy, Schroeder and Linus set up the show’s finale with a question: “Where’s that crazy dog?” Hundreds of fans scream as “All aboard!” resonates through the park, watching in anticipation as a spotlight searches for its fuzzy rock ‘n’ roll star to emerge.

Chances are you’ve seen Snoopy dressed as Doggy Pawsbourne on your Instagram or TikTok feed, complete with Ozzy’s signature round sunglasses, long hair and trench coat, punctuating the Prince of Barkness’ “Crazy Train” entrance. Snoopy’s Legendary Rooftop Concert became an instant hit with park patrons and with fans internationally thanks to a viral video posted on opening night. Sharon Osbourne shared the “Peanuts” tribute to her late husband with the all caps message “I LOVE IT” to her social media from the floor of the 68th Grammy Awards. But it’s more than witty puns and costumes that make Snoopy’s Legendary Rooftop Concert special.

The show at Knott’s tells the story of Snoopy learning to be a rock star at Jelly of the Month Club’s Music Academy and touring the world with the band. Snoopy takes on fursonas like Dog Lennon, Paw Prince, Fido Mercury, Flying Ace Freely and even a lost member of Devo wearing the signature Energy Dome hat. Jelly of the Month Club hits every beat and chord with precision, with arrangements of songs and medleys that bring together the power of rock’s past with the whimsy of “Peanuts.” Woodstock gets a solo moment too, whistling on Dog Marley’s “Three Little Birds,” set to a perfect one drop beat as Charlie Brown spirals out in a chicken suit while rubber chickens sway.

“We got rows of kids bringing their own rubber chickens,” show director Rob Perez tells me. “Its almost like watching ‘Rocky Horror’; kind of bizarre, really funny, and charming.” When Charles Schulz’s daughter Jill came to see the show, she told Perez that her dad used to say “there’s nothing funnier than a rubber chicken.”

Snoopy as Doggy Pawsbourne at Knott’s Berry Farm

(Dick Slaughter)

It makes sense that rock ‘n’ roll appeals to Snoopy; he’s a bit of an outsider with an internal life seen by almost none of his friends. It makes more sense that the feeling of family promised by rock touring life would appeal to Charlie Brown; it often calls to creative dreamers and outcasts with a subconscious need to belong. Schulz explored why all humans have the feeling people don’t like us in his cartoons and admitted that Charlie Brown was loosely based on himself. “People who win are the minority,” he told BBC in 1977, “most of us lose a lot.” The solution he provided to overcoming life’s most difficult conditions was simply to never give up.

Nobody cheers on Charlie Brown in Snoopy’s Legendary Rooftop Concert more than Jelly of the Month Club guitarist and vocalist Michael De La Torre, a.k.a. Mic Dangerously, who has become accustomed to encouragement working with youth. Active since 2013, Jelly of the Month Club is a family-friendly band who use music to inspire, educate and entertain kids and adults. It has played countless elementary schools, children’s hospitals, civic events and theme parks with interactive songs that teach musical concepts and life lessons. The band also offers free online lessons called the Jelly of the Month Club Music Academy, which turned live gigs into cartoon-based educational games. The band members have partnered with nonprofits including UNICEF’s Kid Power initiative to provide concerts to schools across Southern California, often donating their time.

“Studies say music helps with math, English and science, but it also helps you as a person,” Dangerously says. “It helps you understand feelings better. Look at how adults use music therapeutically. Kids are doing just the same.”

Dangerously first recognized the power of music education as a young boy at St. Pius elementary school in Buena Park, when a man with a bushy mustache and a Hawaiian shirt quieted the boisterous students in seconds with only an acoustic guitar. But hearing Louis Prima’s voice in “The Jungle Book” solidified his desire to become a singer.

Playing at Knott’s has forged meaningful connections to the community in ways Dangerously never foresaw in his early rock ‘n’ roll days. He’s become close to a father and his usually nonverbal son who can’t keep quiet at shows, asking questions and singing along. Last year an older woman who he’s built a friendship with for years suddenly disappeared. Dangerously learned from her daughter and granddaughter that she suffered a stroke. She credits singing and dancing to his music at Knott’s as instrumental in recovering her speech and movement. “She told me that she loved me like a son,” Dangerously says. “I’ve never had anything like that happen with my rock band. It makes you really want to show up.”

On the night The Times experienced Snoopy’s Legendary Rooftop Concert, Dangerously’s biggest fan, Abbey, stood in the front row playing a light up tambourine above her head to “The Blooz Beagles,” wearing a head-to-toe matching outfit to him. In her sequin blazer, red pants, black boots, bow tie and wide-brim hat, the 11-year-old mirrored his musical gestures, never missing a beat. Abbey loves “everything” about the music and dancing she tells me, excited to share that Mic personally gave her the tambourine and a few other instruments too.

Crowd at Jelly of the Month Club show at Knott’s

“They’ve known her since she was 3,” says April Guerrero, Abbey’s supportive mom who has helped her daughter make replicas of Jelly of the Month Club’s looks since 2017. Abbey learned to play music because of the band’s online resources.

“Many of us have a background in education,” Dangerously said. Matt Kalin is a teacher and pro saxophonist who has shared the stage with legends like Social Distortion and Louis Bellson. Dr. Todd Forman is a practicing physician who went to Harvard, taught at USC, and played sax with Sublime. Bassist James Kee is an educator who has taught kindergarten through fourth grade for the last 15 years. Dangerously’s own mom was an art teacher who encouraged him to teach after he finished his audio engineering degree at Musicians Institute, something he’s used in a junior producer’s course he created for an after-school program in Long Beach.

Like the members of Jelly of the Month Club, director Rob Perez is a multi-instrumentalist and producer with a deep reverence for classic rock and Charles Schulz cartoons. Perez is the man responsible for turning Snoopy’s Legendary Rooftop Concert from a dream into a reality. The concert grew out of a 2017 show called Woodstock’s Music Festival. When Snoopy walked out as Jimmy Hendrix, the crowd went wild, and Perez’s boss and Knott’s fans wanted more.

“The Rooftop Concert is a little bit of a nod to the Beatles, but it’s much more about Snoopy’s rooftop,” Perez tells me. “When you see Snoopy as the great writer, or the World War I Flying Ace, it’s always on the roof of his doghouse. So why wouldn’t he be a rock star on his rooftop?”

Knott’s rebrand of the show let Perez incorporate more storytelling, a task he shared with Jelly of the Month Club. The show opens with Snoopy traveling from his fictional cartoon town to a rehearsal where Dangerously gifts him a tambourine to join their jam. He sends Snoopy home with a pile of records which he listens to obsessively in his doghouse, a relatable experience for fans who have found solace and inspiration in old LPs, hiding out like Snoopy with pizza, root beer, and the complicated dream of leaving the only place you’ve ever called home to follow music’s call. Snoopy dons a leather vest, proclaims he’s a “Golden Dog,” and runs away from home to take lessons at Jelly of the Month Club‘s Music Academy and tour the world. After receiving criticism in the recording studio about his howl, Snoopy finds himself missing his best friend Charlie Brown. He asks the Peanuts Gang to team up with Jelly of the Month Club for one final performance on top of his doghouse, legendary enough to land them in the Rock and Roll Hall of Fame.

Perez’s writing and producing shares the attention to detail present in Jelly of the Month Club’s approach to the music. Perez had the honor of voice acting for Snoopy. He digitally re-created a technique he learned from researching Bill Melendez’s 1960s approach in which he recorded barks and grumbles directly to reel-to-reel tape, sped it up, then cut and pasted it randomly to create Snoopy’s signature pentameter-less cadence. Perez worked closely with costume designer Tim Barham, creating every wig, accessory, and costume with exacting detail. The storyline and graphics pay close attention to “Peanuts” lore and rock ‘n’ roll film history, with Easter eggs from “La Bamba,” “Rocketman,” “This Is Spinal Tap,” “Almost Famous” and many others hidden throughout the 30-minute show.

“We don’t try to change the Peanuts from who they are,” Perez says. “We have to bring Charlie Brown along as he constantly fails at being a rock star. We have to give him a shot and prop him up, because he’s usually on the ledge. We bring him back. That’s been the premise of many Peanuts TV specials and movies.”

Mic Dangerously with Snoopy at Knott’s

(Dick Slaughter)

Jelly of the Month Club’s original song “The Magic Is in the Music” meets Charlie Brown where he’s at, encouraging him to take on the challenge of becoming a guitarist. As he fumbles with his out-of-tune Flying V, looking ready to shred in a thrash band, the crowd cheers for his success despite his self-doubt. When Charlie withdraws during the Elton John number, Dangerously responds by saying that that music can be a safe place when you’re feeling lost, saying “Charlie Brown, you are home.”

“We’re out there singing we ‘want to bark and howl all night’ but we’re teaching Charlie Brown and Snoopy is that it’s not just about your clothes, it’s about what’s in here,” Dangerously says, touching his heart. “It’s important not to take yourself too seriously. We’re showing that it’s OK to have fun. And that silliness is a big, important component of rock and roll.”

This spirit is the core of Snoopy’s Legendary Rooftop Concert on stage and on the floor. At the show I see a sea of grandmas shaking babies’ fists in the air, a little boy in a Woodstock hoodie headbanging, rockers in studded vests with huge smiles on their faces, and teenagers momentarily dropping their defenses against cringe in exchange for a moment of sheer joy.

Hanna and Ellie, teens from South Gate and Silver Lake, respectively, can’t contain themselves, pogoing, screaming and singing along. “I’m at a loss for words,” Hanna says, giggling. The girls agree that the show was better than they expected.

On Snoopy’s rooftop everyone is a rock star: Abbey, a rubber chicken and even Charlie Brown.

The man I’m talking to tells me he has no name.

“Hey” is what he responds to, and he says he can be best described as a “travel agent,” a designation said with a sly smile to clearly indicate it’s code for something more illicit.

About eight of us are crammed with him into a tiny area tucked in the corner of a nightclub. Normally, perhaps, this is a make-up room, but tonight it’s a hideaway where he’ll feed us psychedelics (they’re just mints) to escape the brutalities of the world. It’s also loud, as the sounds of a rambunctious funk band next door work to penetrate the space.

Celeste Butler Clayton as Ursa Major and Ari Herstand as Copper Jones lead a group of theater attendees in a pre-show ritual.

(Gabriella Angotti-Jones / For The Times)

”Close your eyes,” I’m told. I let the mint begin to melt while trying to pretend it’s a gateway to a dream state. The more that mint peddler talks, the more it becomes clear he’s suffering from PTSD from his days in Vietnam. But the mood isn’t somber. We don’t need any make-believe substances to catch his drift, particularly his belief that, even if music may not change the world, at least it can provide some much-needed comfort from it.

“Brassroots District: LA ’74” is part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.

Audience members are encouraged to partake in a “Soul Train”-style dance exhibition.

(Gabriella Angotti-Jones / For The Times)

Now running at Catch One, “Brassroots District” aims to concoct a fantasy vision of 1974, but creators Ari Herstand and Andrew Leib aren’t after pure nostalgia. The fictional band at the heart of the show, for instance, is clearly a nod to Sly and the Family Stone, a group whose musical vision of unity and perseverance through social upheaval still feels ahead of its time. “Brassroots District” also directly taps into the history of Catch One, with a character modeled after the club’s pioneering founder Jewel Thais-Williams, a vital figure on the L.A. music scene who envisioned a sanctuary for Black queer women and men as well as trans, gay and musically adventurous revelers.

“This is the era of Watergate and Nixon and a corrupt president,” Herstand says, noting that the year of 1974 was chosen intentionally. “There’s very clear political parallels from the early ‘70s to 2026. We don’t want to smack anyone in the face over it, but we want to ask the questions about where we’ve come from.”

This isn’t the first time a version of “Brassroots District” has been staged. Herstand, a musician and author, and Leib, an artist manager, have been honing the concept for a decade. It began as an idea that came to Herstand while he spent time staying with extended family in New Orleans to work on his book, “How to Make it in the New Music Business.” And it initially started as just a band, and perhaps a way to create an excitement around a new group.

Ari Herstand as musician Copper Jones in an intimate moment with the audience.

(Gabriella Angotti-Jones / For The Times)

Celeste Butler Clayton (Ursa Major), from left, Ari Herstand (Copper Jones), Bryan Daniel Porter (Donny) and Marqell Edward Clayton (Gil) in a tense moment.

(Gabriella Angotti-Jones/For The Times)

Yet as the pair became smitten with immersive theater — a term that typically implies some form of active involvement on the part of the audience, most often via interacting and improvising with actors — Brassroots District the band gradually became “Brassroots District” the show. Like many in the space, Herstand credits the long-running New York production “Sleep No More” with hipping him to the scene.

“It’s really about an alternative experience to a traditional proscenium show, giving the audience autonomy to explore,” Herstand says.

Eleven actors perform in the show, directed by DeMone Seraphin and written with input from L.A. immersive veterans Chris Porter (the Speakeasy Society) and Lauren Ludwig (Capital W). I interacted with only a handful of them, but “Brassroots District” builds to a participatory finale that aims to get the whole audience moving when the band jumps into the crowd for a group dance. The night is one of wish fulfillment for music fans, offering the promise of behind-the-stage action as well as an idealized vision of funk’s communal power.

Working in the favor of “Brassroots District” is that, ultimately, it is a concert. Brassroots District, the group, released its debut “Welcome to the Brassroots District” at the top of this year, and audience members who may not want to hunt down or chase actors can lean back and watch the show, likely still picking up on its broad storyline of a band weighing a new recording contract with a potentially sleazy record executive. Yet Herstand and Leib estimate that about half of those in attendance want to dig a little deeper.

At the show’s opening weekend this past Saturday, I may even wager it was higher than that. When a mid-concert split happens that forces the band’s two co-leaders — Herstand as Copper Jones and Celeste Butler Clayton as Ursa Major — to bolt from the stage, the audience immediately knew to follow them into the other room, even as the backing band played on. Leib, borrowing a term from the video game world, describes these as “side quests,” moments in which the audience can better get to know the performers, the club owner and the act’s manager.

“Brassroots District: LA ‘74” is wish fulfillment for music fans, providing, for instance, backstage-like access to artists. Here, Celeste Butler Clayton performs as musician Ursa Major and is surrounded by ticket-goers.

(Gabriella Angotti-Jones / For The Times)

An audience member’s costume.

(Gabriella Angotti-Jones / For The Times)

Yet those who stay in the main stage will still get some show moments, as here is where a journalist will confront a record executive. Both will linger around the floor and chat with willing guests, perhaps even offering them a business card with a number to call after the show to further the storyline beyond the confines of the club. If all goes according to plan, the audience will start to feel like performers. In fact, the central drama of “Brassroots District” is often kicked off by an attendee finding some purposely left-behind props that allude to the group’s record label drama. Actors, say Herstand, will “loosely guide” players to the right spot, if need be.

“The point is,” says Leib, “that you as an audience member are also kind of putting on a character. You can stir the spot.” And with much of the crowd in their ‘70s best and smartphones strictly forbidden — they are placed in bags prior to the show beginning — you may need a moment to figure out who the actors are, but a microphone usually gives it a way.

“They’re a heightened version of themselves,” Herstand says of the audience’s penchant to come in costumes to “Brassroots District,” although it is not necessary.

“Brassroots District,” which is about two hours in length, is currently slated to run through the end of March, but Herstand and Leib hope it becomes a long-running performance. Previous iterations with different storylines ran outdoors, as it was first staged in the months following the worst days of the pandemic. Inside, at places such as Catch One, was always the goal, the pair say, and the two leaned into the venue’s history.

“It’s in the bones of the building that this was a respite for queer men and the Black community,” Leib says. “There’s a bit of like, this is a safe space to be yourself. We’re baking in some of these themes in the show. It’s resistance through art and music.”

Such a message comes through in song. One of the band’s central tunes is “Together,” an allusion to Sly and the Family Stone’s “Everyday People.” It’s a light-stepping number built around finger snaps and the vision of a better world.

“We are stronger when we unite,” Herstand says. “That is the hook of the song, and what we’re really trying to do is bring people together. That is how we feel we actually can change society.”

And on this night, that’s exactly what progress looks like — an exuberant party that extends a hand for everyone to dance with a neighbor.

Nottingham Forest have sacked Sean Dyche as head coach after less than four months in charge and are looking for their fourth boss of the season.

Forest were held to a goalless draw at home by bottom club Wolves on Wednesday and are just three points above the Premier League relegation zone with 12 games remaining.

Dyche, 54, succeeded Ange Postecoglou in October and had signed a contract until the summer of 2027.

“Nottingham Forest Football Club can confirm that Sean Dyche has been relieved of his duties as head coach,” a statement read.

“We would like to thank Sean and his staff for their efforts during their time at the Club and we wish them the best of luck for the future. We will be making no further comment at this time.”

When LAFC promoted Marc Dos Santos from assistant coach to manager two months ago, there were some perks that came with the new job. A raise, certainly. A better seat on the team charter.

But not as many as you might think.

“The office is a little bit bigger,” he said. “My parking space is exactly the same.”

The biggest perk, however, could also prove the more difficult. After five seasons working under Bob Bradley and Steve Cherundolo, Dos Santos is now the guy calling the shots. And if he misfires, it will be clear who deserves the blame.

Dos Santos welcomes the scrutiny.

“I never coach with the intention of what people think or what people are going to say,” he said. “I’m focused on the group and my job; the validation that is the most important for me is from my owners, from the people in the club that believe in me.

“I’m blessed with the pressure of coaching LAFC, It’s a privilege to be under pressure. But at the same time, I want to start well.”

He’ll get that chance Tuesday, when LAFC faces Honduran club Real España in the first round of the CONCACAF Champions Cup in San Pedro Sula. The MLS season will start four days later against Lionel Messi and Inter Miami, the reigning league champion, at the Coliseum.

Dos Santos, who speaks four languages, has already started putting his stamp on the team by tweaking LAFC’s playing style. Under Cherundolo, who spent his whole playing career in Germany, the team ran a German-influenced, high-press system that combined fast-paced attacking with defensive discipline, emphasizing quick transitions and a compact defensive organization.

But Cherundolo’s teams were also content to concede the ball as much as they controlled it. Dos Santos, conversely, spent the preseason implementing an aggressive possession-based attacking game.

“Marc had a lot to do with what we thought was really good about LAFC. But he had some ideas on how to tweak things,” said general manager John Thorrington, whose team is unbeaten in four preseason games, outscoring opponents 7-3. “What is really impressive is Marc and the staff have begun implementing these tweaks. Everybody is really buying in.”

Which is good since Dos Santos won’t have much of a chance to do any teaching once the season begins. LAFC will start the year with four games in 12 days; if it advances to the second round of the Champions Cup, the team will play nine times in 33 days.

Then in late May, after 16 MLS match days, the season will pause for more than seven weeks for the World Cup.

The vagaries of that schedule will require flexibility and depth and will likely force Dos Santos to rotate players in and out of the lineup. And though LAFC’s roster, led by South Korean captain Son Heung-min and former MLS Golden Boot winner Denis Bouanga, appears top heavy, the coach lauds the depth, with offseason additions including wingers Jacob Shaffelburg and Tyler Boyd and midfielder Amin Boudri.

“People could look very superficially,” he said. “But it’s also a league with a salary cap and there’s so many players that support what are called the more known or star players. That’s important.

“The focus is to surround these players with a system and a way of playing that is going to maximize everybody.”

Dos Santos, 48, has won everywhere he’s managed with one exception: his only other MLS head coaching stint in Vancouver, where he spent parts of three seasons, two of which were impacted heavily by the coronavirus pandemic.

He got his coaching start in his native Canada, then moved to Brazil, where he coached in the youth programs of two clubs and worked as a technical director for another. He returned to North America to manage three lower-division clubs and worked as an assistant with Sporting Kansas City of MLS before Bradley named him to the first LAFC staff in 2018.

After Bradley moved on, Dos Santos returned to LAFC as part of Cherundolo’s first staff. And now, as manager, he’s brought in his own lieutenants, replacing original LAFC assistant Ante Razov with former Seattle assistant Andy Rose — who played for Dos Santos in Vancouver — and adding Spanish coach Xavi Tamarit.

“When you go from assistant coach to head coach, you have to take a few steps back. But you need to make sure you delegate to competent people,” he said. “The people that have joined are really competent and do a really good job.”

The proof of that will come on the field and Dos Santos knows he has big shoes to fill. Under Bradley and Cherundolo, LAFC was the best club team in U.S. soccer over the past eight years, winning more games, earning more points and scoring more goals than any team in MLS. It made the playoffs seven times, played in two MLS Cup finals and two CONCACAF Champions League finals, won two Supporters’ Shields and a U.S. Open Cup.

Thorrington expects the winning to continue under Dos Santos.

“I am confident that we made this decision for the right reasons,” he said. “And those who are not convinced yet will be convinced very soon.”

If they aren’t, LAFC’s famously demanding fans will be calling for the coach’s head. So even though MLS is heavily promoting the regular-season opener with Messi and Inter Miami, Dos Santos isn’t looking past his real first game in charge, which is the Champions Cup game with Real España.

“For me, the only game that counts in my head right now is the game of Feb. 17 in Honduras,” he said. “That’s where I put my energy. And then we’ll deal with the Miami game.”

At the end of the 2021 season, Carlson capped off a resurgent year by leading Glamorgan to One-Day Cup victory, a first trophy for the club since 2004.

In 2026 – with Sam Northeast having rejoined Kent – he will be hoping to draw on those experiences as he takes the reins in first class matches for the club’s long-awaited return to division one of the County Championship

“We played some really good cricket last year, and our team is full of match winners,” said Carlson.

“We have a solid squad with some great players and human beings in there. It’s always a challenge being the underdog but it’s something I think we can use in our favour, there will be times when we will need to scrap but that’s fine.”

Staying in Division One as a newly promoted side is a tough task for any team, let alone one led by a new club captain.

However, Wallace believes Carlson and his team-mates will relish the challenge.

“We’ve got a new-ish captain in Kieran. It was quite obvious early on that he’s a bright lad,” said Glamorgan’s director of cricket.

“He understands the game. He’s he’s very much a people person, somebody who wants to build relationships. I think he’s certainly got the tactical nous and the tactical acumen to lead us well.

“We will have to prove a few doubters wrong. We’re not underestimating the challenge that we’ll have in front of us having not played Division One cricket for so long.”

With all of the challenges the top flight will bring to the County’s shores this summer, Glamorgan believe they have the right man to navigate them to safety.

Carlson has shown throughout his career that he is not afraid of resetting after faliure and asking questions of himself.

But what answers the Welshman comes up with this season may just end up defining Glamorgan’s year.

Former Liverpool goalkeeper Caoimhin Kelleher says the death of Diogo Jota means performances and results at his old club are not quite as important this season.

Portuguese winger Jota died in a car crash last summer at the age of 28.

Jota scored 65 goals in 182 appearances for the Reds, helping them win the FA Cup and League Cup in 2022 and the Premier League title last season.

Liverpool are currently sixth in the Premier League – 14 points behind table-topping Arsenal – in what has been a testing season for the club on the pitch.

Republic of Ireland international Kelleher, who left Liverpool for Brentford last June, touched on the emotional impact of Jota’s death in an interview with The Independent., external

The 27-year-old said that for his former club it was “more about them personally and mentally” than anything else this season.

“Obviously, football is a massive sport and people have an opinion, which is natural. People expect you to move on quite quickly, and I don’t think that’s the case,” Kelleher said.

“I find it a bit strange and a bit difficult when I hear people speaking about the players at Liverpool and the performances, because I don’t think this season is even important from a football aspect for them.”

Last November, Reds boss Arne Slot said his side miss Jota both as a player and a person.

Those remarks came in the wake of an emotional post-match interview from Liverpool left-back Andrew Robertson after Scotland had qualified for the World Cup.

Robertson said he had “been in bits” because he “couldn’t get my mate Diogo Jota out of my head” in the build up to a thrilling victory over Denmark which clinched their spot at the tournament.

Kelleher, who made 67 appearances in all competitions for Liverpool, having joined the club’s academy in 2015, said coming to terms with Jota’s death had been “a bit easier” since he was no longer at Anfield.

“I stay in touch with some of the guys there, I have a lot of good friends there. It’s a very difficult time for them, a difficult season, with circumstances that people probably aren’t taking into account too much,” explained Kelleher.

“But it’s probably been a bit easier for me, being away from it, and not being in such close proximity to it every day.

“From an individual aspect, for me to leave and play first-team football was obviously right, never mind the tragedy that happened. “

One question has bothered Martin Ludlow in his decades as a concert and event promoter in Los Angeles. In a city packed with excellent jazz musicians, and a century of history with the genre, why is there no local equivalent of the massive festivals that cities like Montreal, New Orleans or Montreux, Switzerland, have built? One where the music transforms clubs, restaurants and parks across the city for nights on end?

This summer’s inaugural LA Jazz Festival in August will be the biggest push in a generation to build that here. Ludlow’s event — which melds his passion for jazz with the logistics muscle of his former life as a city councilman and labor leader — hopes to draw 250,000 fans across the city for a month of concerts culminating in a stadium-sized show on Dockweiler Beach. It will be one of the largest such events in the world, and the biggest Black-owned fest of its kind.

“This festival is intended to lift up our ancestors that came to this country in bondage, terrorized, brutalized,” Ludlow said outside City Hall on Wednesday. “It’s also about celebrating the end to those last bastions of Jim Crow racism, the days we were denied access to public drinking fountains, public swimming pools and public beaches. From the beginning of this journey, we’ve been very intentional about telling the narrative of that human rights struggle called Jazz.”

Flanked by Mayor Karen Bass, City Council members Heather Hutt, Traci Park and Tim McOsker, and jazz figures including Ray Charles Jr. and Pete Escovedo, Ludlow promised a galvanizing occasion for L.A.’s local jazz scene and the city’s wobbly tourism economy. That jazz scene has welcomed new investments like Blue Note L.A., and lamented beloved clubs like ETA closing.

This festival, however, hopes to be more on a scale with forthcoming mega-events such as the World Cup and the Olympics. The 25-day event in August will sprawl all over the region, with free park concerts in all 15 council districts, and 150 late-night shows at clubs and restaurants across the city. A Caribbean street fair highlighting the African and Latin roots of jazz will hit El Segundo, along with guided tours of historic Black coastal sites like Bruce’s Beach and Inkwell beach.

The fest culminates in a two-day concert on Dockweiler Beach that hopes to draw 40,000 fans a night. While a lineup is still in progress, the scope of Ludlow’s ambition is formidable — the fest will ban fossil fuels from its footprint, and earned a strong vouch from the California Coastal Commission. For decades, the Playboy Jazz Festival (now the Hollywood Bowl Jazz Festival) was the defining event for the music in Los Angeles; this could eclipse it several times over.

“Martin, I’ve been on this 15-year journey with you. Through all of the ups and downs, I’m so excited this is the year,” Mayor Bass said at Wednesday’s event at City Hall debuting the festival. “This is the Los Angeles that will welcome the world. One of the best things we have to offer is all of our culture.”

Ludlow is a colorful figure in Los Angeles politics, a former council member and L.A. County Federation of Labor executive who pleaded guilty to misappropriating funds in 2006. He’s since delved deep into community activism and embarked on a successful third act as a concert and event promoter, throwing socially-conscious events with his firm Bridge Street, which has produced shows for Stevie Wonder, The Revolution, Sheila E and Snoop Dogg along with civic events like the ceremony renaming Obama Boulevard in Los Angeles.

“During this journey, you can only imagine there’s a lot of highs and a lot of lows,” Ludlow said. “When you have those lows, you want a friend that really can lift you up.” He had plenty of them onstage with him Wednesday announcing what could be a new flagship event for jazz in Los Angeles.

The flash sale launches today and offers up to 20% off peak date ski trips for 2026/27

Ski fans and families looking to hit the slopes for the 2026/27 season can get ready to bag some big deals, as Club Med has announced its highly anticipated Winter 2027 sale. Short but sweet: the sale will run from today until February 6, 2026.

The promotional deal offers up to 20% off all Ski Resorts for stays between three and 28 nights. Those looking for a bit of luxury can bag 20% off premium rooms (including deluxe rooms, suites, and villas), while standard superior rooms are discounted by up to 15%.

With a travel window running from November 14, 2026, to May 5, 2027, this three-day flash sale offers plenty of flexibility for shoppers. Crucially for parents, the discounts also apply to peak dates, meaning half-term and Christmas holidays are also included.

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The travel experts at Club Med are promising a “worry-free” winter by locking in all-inclusive prices now. Premium mountain getaways start from £1,085 per person, including several “hidden extras” that usually send ski budgets racing downhill.

Club Med offers families a way to hit the slopes, with children under 4 staying for free and bookings secured with a £150 per person deposit. Their premium all-inclusive packages eliminate hidden costs by covering dining, drinks and a range of sports and activities, and Kids Clubs are included for those aged four to 17, with additional childcare services also available.

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Kids under 4 stay free, with bookings secured from £150pp, and guests can enjoy a premium all-inclusive experience with food, drinks, sports, activities and Kids’ Clubs (extra cost for under-4s).

A spokesperson for Club Med said: “With our upcoming Winter 2027 sale, we are offering our best deals of the season across all dates. By booking during this window, guests can secure their dream room and preferred peak dates at a price that simply won’t be beaten later in the year.”

For those looking to hit the French or Italian Alps, several top-tier resorts are expected to be popular next winter. Nestled at 1,460 metres behind spruce trees, Club Med Valmorel features architecture inspired by traditional Beaufortain mansions with stone roofs and colourful facades.

The resort offers plenty of activities ranging from sledding and skiing in the Grand Domaine to snowshoeing through the Aigueblanche valley and relaxing in the indoor pool. Guests can upgrade to the “Le Lodge” Exclusive Collection space to enjoy elegant suites, private ski rooms and luxury perks like champagne service from 6pm.

Elsewhere at Club Med Alpe d’Huez in the Savoie ski area, serious skiers can enjoy direct ski-in/ski-out access to a vast 250km domain featuring Europe’s longest black run. The resort is designed for all generations and abilities though, with the “Happy Lounge” and indoor pool with adult-only sanctuaries such as “La Bulle” and the PAYOT spa.

Guests can enjoy panoramic mountain views from private balconies or take part in unique alpine experiences including dog sledding and vibrant après-ski at the lobby bar. For a real touch of luxury, Club Med Val d’Isère is the only Exclusive Collection Resort in the French mountains, offering a stylish blend of stone and wooden chalets nestled in a legendary alpine valley.

The resort caters to ski enthusiasts and wellness seekers alike with world-class slopes, yoga and a luxury spa, all within a setting designed for privacy and relaxation. A highly regarded resort for upscale skiers who appreciate the finer things in life, guests can enjoy enhanced premium services, including a dedicated concierge to cater to every need and a private shuttle service to the village centre.

Another choice is the Club Med La Rosière, perched 1,900 metres high with 180° south-facing views in the Haute-Tarentaise Valley. Families can explore the Espace San Bernardo – a cross-border ski domain once traversed by Hannibal – or enjoy the village’s famous Saint Bernards and freestyle competitions. For ultimate luxury, the Exclusive Collection space offers premium balconies overlooking the Tarentaise Valley in the shadow of Mont Blanc.

If the Italian slopes are calling, Club Med Pragelato Vialattea is a charming Piedmont resort designed like a traditional Italian hamlet, featuring clusters of cosy chalets set around a village fountain at 1,600 metres. The resort provides direct access to the Olympic slopes of the Via Lattea and Sestriere domains, complemented by alpine activities such as snowshoeing through pine forests and relaxing in a Finnish sauna. Families can experience the authentic Italian mountain lifestyle, pairing days on the slopes with après-ski treats like Genovese focaccia and evenings in the resort’s lounge.

Alternatively, Club Med Saint-Moritz Roi Soleil provides a glamorous Swiss Alps experience at 1,750 metres, just a short distance from the prestigious lake and high-end boutiques of St Moritz. The resort offers access to 350km of slopes that have hosted the Winter Olympics and World Championships, with activities including cross-country skiing, snowboarding and snowshoeing through the Engadine valley.

Families can enjoy mountain-top lunches, horse-drawn carriage rides, and traditional Swiss fondue dinners, all included alongside premium amenities like a heated indoor pool and sauna. For skiers who are looking to go further afield, Club Med’s first North American mountain resort – Club Med Quebec Charlevoix – offers a unique “sea meets peaks” experience with contemporary Canadian architecture and sweeping views of the St. Lawrence River.

Located in the Charlevoix region, experienced skiers can tackle challenging slopes with direct ski-in/ski-out access, while year-round trails provide diverse opportunities for both winter sports and summer hiking. The resort is designed to immerse guests in an unspoiled natural landscape, blending premium all-inclusive comfort with the raw beauty of a UNESCO-designated biosphere.

Club Med’s ski holidays offer a fully all-inclusive getaway that most ski operators don’t match. But for ski fans looking for something different, TUI offers a range of ski holidays across Europe. Offering a range of hotels and self-catering accommodation, guests can book ski and lift passes, equipment passes and more before they travel.

Alternatively, British Airways has some European deals worth considering, including ski holidays in Bulgaria. As one of Europe’s best value resorts, Sofia is a good choice for skiers on a budget.

Ski fans who have already hit the piste with Club Med have left thousands of glowing reviews on TripAdvisor. One traveller who stayed at Val d’Isère left a five-star review, saying: “Stayed here recently and would certainly recommend.

“Such a good location, with pistes from the door, which is rare in Val d’Isere. Easy walk to town too if you fancy it. Bus stops at the front door too, if you don’t want the walk. Catering was the usual Club Med quality buffet, with loads of choice and variety every day.”

Another who visited Club Med La Rosière, was also delighted, sharing: “Club Med, all included and you don’t want for anything. It makes things very simple. The hotel is beautifully presented, looks very classy and modern, yet still comfortable. It was spotlessly clean and a comfortable temperature throughout. Staff are very friendly and always say hello and are very helpful if you have a query.”

However, a visitor who stayed at the Alpe d’Huez resort was less impressed, noting: “Everything is perfect except the noisy dining room. Lots of people, but the fact that the tables are very close exacerbates the problem.”

While another visitor at the same resort was bowled over, adding: “Of all the rest of the network that I have hosted, in fact, the ClubMed Alpe D’Huez is the best. The offer of services, the party climate and especially the team of ski teachers, plus an amazing piste made – at least for me – the best choice among the hotels of this network for a family looking to enjoy the trip with friends, have fun and even improve their skill in skiing.”

The club has become an Ibiza icon in recent years, and many celeb social media feeds have included pictures of the resort’s huge pool parties. This includes Katie Price who was seen posing on a sunbed last summer

Summer may seem like a long way off, but many of us are already making plans to visit warmer, more exciting destinations in the coming months.

One spot that Brits seem to return to year after year is Ibiza. While the party island has many iconic venues, one resort often hits the headlines during the summer season thanks to its decadent parties beloved by celebs. And you can already book a spot at its annual opening party.

O Beach Ibiza is owned by Wayne Lineker, who often posts poolside photos on his Instagram, and the resort can often be seen on social media feeds during the summer. From celebs to famous sports stars and influencers, it’s safe to say that you’re bound to see someone you recognise when you visit.

Last year, Katie Price enjoyed a well-documented trip to Ibiza, which included partying at O Beach in a tiny pink bikini. She reportedly danced with UFC-fighter Conor McGregor and posed for selfies with other celebrity pals.

The most famous part of O Beach is its day club, which opens at 1PM and generally closes by 11PM: perfect timing for those heading out to enjoy Ibiza’s nightlife. The official opening party for 2026 is on May 1, and the club opens nearly every day until mid-October, meaning visitors can make the most of the sunny Ibiza weather.

Guests can book a range of sofas, tables, or day beds to stake out their spot, and can either lie back and enjoy the sunshine while ordering cocktails and champagne, or join in the party. One option is to hire a daybed in the Sunset Garden area, which overlooks the pool and enjoys great views. This area also has its own bar for quicker service. Depending on when you visit, you can enjoy DJ sets, live music, or other poolside entertainment throughout the resort.

O Beach also has a restaurant where you can enjoy al fresco Mediterranean dining in the shade, or you can order poolside food to enjoy at your daybed.

While O Beach used to be just a day venue, last year it launched Bonito Ibiza by O Beach, taking over a hotel just across the road. This means guests are just steps from the party and can easily get back to their rooms in the evenings. The Bonito Ibiza has its own pool with more chilled vibes, and a stylish, neutral décor that’s Insta-perfect.

Staying in the area means you’re just steps from Playa de Sant Antoni, a sandy beach in a shallow bay with clear waters. It’s also just a short walk from San Antonio’s popular clubs, including Eden and Es Paradís, where the party can continue until the sun comes up.

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The port town of San Antonio is also famous for its Sunset Strip, where you can watch the sun go down while enjoying its al fresco bars, which play chill music to create the perfect atmosphere. From the port, you can also hop onto a boat trip, whether it’s one exploring the coast or a party boat combining sightseeing with cocktails and unforgettable views.

Have a story you want to share? Email us at webtravel@reachplc.com

Because the EFL’s profit and sustainability rules are about trying to make sure clubs are not losing unsustainable amounts of money.

Despite going on a summer spending spree, paying about £30m for players and having one of the highest net spends around, Wrexham are well within the financial parameters because of the commercial revenue already being brought in thanks to deals with giants such as United Airlines and HP.

In League Two, they were already bringing in more than 20 of the 24 Championship clubs.

“Under the PSR rules, you’re allowed to lose £39m over three years,” said Maguire. “Looking at their two most recent sets of accounts, Wrexham lost around about £23m – but they’ve had substantial increases in broadcast revenue, from about £1.2m in TV money in League Two to about £12m this season.”

That is before taking into account a significant jump in sponsorship and commercial income, with chief executive Michael Williamson estimating they are already on a par with some top-flight clubs.

“We have a global brand, a Premier League brand in the Championship,” Williamson told Ben Foster’s Fozcast podcast in August 2025.

“What we don’t have is the broadcast revenue of Premier League clubs or the parachute payments.

“From a commercial standpoint, if you compared us to Championship clubs, I’m sure we’d be among the top and – on commercial revenues only – we would probably surpass a handful of Premier League clubs, around four or five I would guess.”