Daniel

A government official in Ecuador has accused protesters of attempting to attack President Daniel Noboa, alleging that a group of approximately 500 people surrounded his vehicle and threw rocks.

The attack, which unfolded in the south-central province of Canar, took place as Noboa arrived in the canton of El Tambo for an event about water treatment and sewage.

Environment and Energy Minister Ines Manzano said Noboa’s car showed “signs of bullet damage”. In a statement to the press, she explained that she filed a report alleging an assassination attempt had taken place.

“Shooting at the president’s car, throwing stones, damaging state property — that’s just criminal,” Manzano said. “We will not allow this.”

The president’s office also issued a statement after the attack on Tuesday, pledging to pursue accountability against those involved.

“Obeying orders to radicalise, they attacked a presidential motorcade carrying civilians. They attempted to forcibly prevent the delivery of a project intended to improve the lives of a community,” the statement, published on social media, said.

“All those arrested will be prosecuted for terrorism and attempted murder,” it added.

Five people, according to Manzano, have been detained following the incident. Noboa was not injured.

Video published by the president’s office online shows Noboa’s motorcade navigating a roadway lined with protesters, some of whom picked up rocks and threw them at the vehicles, causing fractures to form on the glass.

A separate image showed a silver SUV with a shattered passenger window and a shattered windscreen. It is not clear from the images whether a bullet had been fired.

Noboa, Ecuador’s youngest-ever president, was re-elected in April after a heated run-off election against left-wing rival Luisa Gonzalez.

May marked the start of his first full term in office. Previously, Noboa, a conservative candidate who had only served a single term in the National Assembly, had been elected to serve the remainder of Guillermo Lasso’s term — a period of around 18 months — after the former president dissolved his government.

Combatting crime has been a centrepiece of Noboa’s pitch for the presidency. Ecuador, formerly considered an “island of peace” in South America, has seen a spike in homicide rates as criminal organisations seek to expand their drug trafficking routes through the country.

Ecuador’s economy has also struggled to recover following the COVID-19 pandemic.

But Noboa has faced multiple protests since taking office.

In recent weeks, for example, he has faced outcry over his decision to end a fuel subsidy that critics say helps lower-income families.

Noboa’s government, however, has argued that the subsidy drove up government costs without reaching those who need it. In a presidential statement on September 12, officials accused the subsidy of being “diverted to smuggling, illegal mining and undue benefits”.

The statement also said that the subsidies represented $1.1bn that could instead be used to compensate small farmers and transportation workers directly.

But the Confederation of Indigenous Nationalities of Ecuador (CONAIE), the country’s most powerful Indigenous advocacy organisation, launched a strike in response to the news of the subsidy’s end.

It called upon its supporters to lead protests and block roadways as a way of expressing their outrage.

Nevertheless, on Tuesday, the group denied that there had been an organised attack on Noboa’s motorcade. Instead, CONAIE argued that government violence had been “orchestrated” against the people who had gathered to protest Noboa.

“We denounce that at least five comrades have been arbitrarily detained,” CONAIE posted on X. “Among the attacked are elderly women.”

It noted that Tuesday marked the 16th day of protest. “The people are not the enemy,” it added.

CONAIE had largely backed Noboa’s rival Gonzalez in the April election, though some of its affiliate groups splintered in favour of Noboa.

This is not the first time that Noboa’s government has claimed the president was the target of an assassination attempt.

In April, shortly after the run-off vote, it issued a “maximum alert” claiming that assassins had entered the country from Mexico to destabilise his administration.

At the time, the administration blamed “sore losers” from the election for fomenting the alleged plot.

When we first encounter Daniel Day-Lewis in “Anemone,” we only see him from the back, but there’s no mistaking him. Chopping wood outside his character’s rustic cabin in the middle of nowhere, he drives the ax down again and again, ferociously focused on the task at hand. At his best, which was often, Day-Lewis pursued acting with a primal clarity. Fittingly, his return to the big screen after announcing a retirement in 2017 is in a movie that exudes the same stark, elemental quality. He didn’t just co-write this tale of two estranged brothers excavating their complicated history — he imbues it with his essence, its reason for being.

“Anemone” isn’t just a film about family but one made by a father and his son. It’s the feature directorial debut of Ronan Day-Lewis, who collaborated with his Oscar-winning dad on the screenplay. Ronan, better known as a painter in New York’s contemporary art world, chronicles a collection of still lives who jostle themselves out of an emotional stupor.

Set in England some time during the mid-1990s, the movie opens as Jem (Sean Bean) says goodbye to his melancholy partner Nessa (Samantha Morton) and troubled son Brian (Samuel Bottomley) to venture out into the forest to reconnect with his younger brother Ray (Daniel Day-Lewis), whom he hasn’t spoken to in 20 years. A deeply religious man — he has “Only God Can Judge Me” sternly tattooed across his back — Jem is on a mission whose purpose will only slowly be revealed. When he arrives at Ray’s cabin, Ray knows it’s him before he even sets eyes on his brother. For several agonizing minutes, they sit together saying nothing, as Black Sabbath’s mystical ballad “Solitude” plays softly on the stereo. The tense silence will be the first of several battles of will between the two men, neither willing to yield.

Day-Lewis, now 68 and whose last film was Paul Thomas Anderson’s “Phantom Thread,” seems carved out of stone as Ray, his close-cropped hair and imposing gray goatee suggesting a man who doesn’t just live off the grid but thrives there. Lean and athletic, with a wildness in his eyes, Ray displays the same antagonism as Day-Lewis’ Bill the Butcher from “Gangs of New York” or Daniel Plainview in “There Will Be Blood.” Ray’s mysterious and fraught history as a member of the British military during the Troubles is a festering boil this film will eventually lance. His brother, who also served in the military, has come to speak to Ray about something more personal, but the hells they experienced in that conflict are the larger issue they must confront.

Shot by cinematographer Ben Fordesman in the Welsh countryside, “Anemone” takes place largely in a sprawling woods, Ronan Day-Lewis lending the flinty drama a mythic grandeur. Bobby Krlic’s mournful score is alternately dreamy and eerie, the instrumental music abruptly cutting out in the middle of a hypnotic passage. Wordless interludes find Jem and Ray dancing to music or sparring as boxers, their simmering feud reduced to its core elements of rugged masculinity and sibling rivalry. The artist-turned-filmmaker even incorporates a striking image from one of his oils — that of a translucent horselike creature — as an enigmatic visual motif that proves more ponderous than poetic.

This is not the first time Daniel Day-Lewis has worked closely with family. Twenty years ago, he starred in his wife Rebecca Miller’s father-daughter fable “The Ballad of Jack and Rose.” Both that film and “Anemone” concern solitary men who opted out of society, only to discover that such a plan is difficult to sustain. But they also both suffer from what might be described as an excess of dramatic seriousness, which is especially true of “Anemone.” Whether it’s Morton’s perpetually scowling expression in the infrequent cutaways to Brian’s life back home or the on-the-nose emphasis on looming gray clouds, there’s no question a storm is coming. Even “Anemone’s” rare moments of levity feel drained of color, the weight of this family’s Dark Past so severe that not an ounce of light (or lightness) can be permitted to escape.

Not surprisingly, the star almost makes the movie’s suffocating gloom resonate. “Anemone” allows Day-Lewis to be volcanic when Ray launches into a disturbing, ultimately revolting monologue about a recent run-in with a pedophiliac priest from childhood. Later, when the film finally explains why Ray abandoned the world, Day-Lewis delivers a teary confession that doesn’t have much fresh to say about the insanity of war but is nonetheless ennobled by how he unburdens his stoic character through cascading waves of anger and shame.

Even when he’s been fiery, nearly frothing at the mouth, Day-Lewis has always been a master of stillness, relying on his tall, taut frame to hint at the formidable power or menace underneath. (When his characters explode, it’s shocking, and yet we somehow knew the blast was imminent.) For Ray, a man full of rage who has no patience for religion, sentimentality or forgiveness, his brother’s arrival is an unwelcome event, and even when a slight thawing occurs between them, Day-Lewis remains coiled, ready to strike, their fragile truce constantly in danger of being upended.

But because Jem, like so many of these characters, is underwritten, Bean has to fall back on generalized manly intensity, which turns their showdowns into actorly exercises. The interactions are bracing but also a bit studied — the performers’ technique is more impressive than the story, which too often is merely a delivery device for misery disguised as searing truth.

There’s reason to celebrate that Daniel Day-Lewis has chosen, at least temporarily, to cancel his retirement, but “Anemone” as a whole strains for a greatness that its star effortlessly conveys. Amid the film’s self-conscious depiction of a brewing tempest, he remains a true force of nature.

This article contains spoilers for the finale of Prime Video’s “The Girlfriend.”

After reading the pilot for “The Girlfriend,” Robin Wright could see how the entire series would unfold. She was initially approached to direct the first episode, but she was so entranced by the adaptation of Michelle Frances’ 2017 novel she came on board not just as a director, but as an executive producer.

And when it came to casting Laura, a fierce matriarch committed to protecting her son, Daniel, from his new girlfriend, everyone she pictured in the role was unavailable.

“My dream was Tilda Swinton,” Wright says, speaking from the Ham Yard Hotel in London alongside her co-star Olivia Cooke, whose Prime Video series premiered Wednesday. “The time crunch was getting narrower, so Jonathan Cavendish of Imaginarium [Productions] finally said, ‘Would you consider playing Laura? You know her so well.’ What interested me was expanding on each character and developing this show beyond the book, which was already very full and rich.”

Cooke was Wright’s first choice to play Cherry, Daniel’s working-class girlfriend, who may or may not have suspicious motives and a violent past. The actors hopped on a Zoom call at the end of 2023 and were immediately on the same page about the thriller series. Both were intrigued by the idea that each episode depicted the characters’ individual takes on the events, forcing viewers to frequently change their allegiance about who is right. Is Cherry deviously trying to push Laura aside for better access to Daniel, or is Laura paranoid and overbearing?

Cherry (Olivia Cooke), Daniel’s working-class girlfriend. (Christopher Raphael / Prime)

Laura (Robin Wright) is suspicious of Cherry and her motives. (Christopher Raphael / Prime)

“I was enticed by the dual perspectives and delving more into that reality because that is how we operate,” Wright says. “That is the human condition. You perceive [something] in a different way than I do. We’re all a hero of our own story and of our own perspective, but we could be the villain in someone else’s perspective. That’s what happens with Cherry and Laura. Jealousy turns into a power struggle.”

“It’s really fun to dial up the maliciousness and the duplicitous nature of a woman,” Cooke adds. “To play all these different sides and all these different faculties. And both our characters contain them all.”

“It was almost like having the variety pack of being a female,” Wright continues. “It’s easy for the viewer to go back and forth, where you’ll be in favor of this one and then not in favor. And it’s always rooted in true emotion. Wherever Laura or Cherry is coming from, that’s her truth. That’s her story.”

“You’ve always got to champion the characters you’re playing in order to play them honestly,” Cooke says. “I completely understood where Cherry was coming from. A lot of that is lack and fear and scarcity. Not having a parachute or a safety net, and having to constantly strive and move forward. She’s a survivor and she’s scrappy, and she will be the quickest and most ferocious to her own defense.”

The conflict between Laura and Cherry aggressively ratchets up over the course of six episodes. After a rock climbing accident that puts Daniel (Laurie Davidson) into a coma, Laura convinces Cherry that he’s died. Cherry later threatens Laura with a knife — or does she? Cooke says she loved “having the excuse to go f— feral.”

“What’s fun about Laura’s perspective is Cherry seems completely unhinged and that there’s a real malevolent undertone to her behavior,” Cooke says. “But in Cherry’s perspective, it’s all coming from a place of just scrambling. She’s tried to put her best foot forward when she meets Laura for the first time and she’s tried to cover up her past a little bit by saying the odd white lie. And a mum sniffs that out immediately.”

“What’s fun about Laura’s perspective is Cherry seems completely unhinged and that there’s a real malevolent undertone to her behavior,” Olivia Cooke says. “But in Cherry’s perspective, it’s all coming from a place of just scrambling.”

(Jennifer McCord / For The Times)

Cooke describes Cherry as an “underdog trying to claw herself up.” “I want the audience to really be of two minds about her,” she says. “And women usually have to be so buttoned up.

“It’s always, ‘You can’t say that or don’t emote that,’” Wright chimes in. “This gave us an opportunity to do what a lot of women would like to say or do, but they can’t. You always have to be a diplomat. This was about being a human being. Women are very layered individuals. We can do 16 things at once. That’s why we can carry children for nine months and then raise them. I wanted to show all of those colors of a woman.”

The role gave Cooke the chance to showcase her range and expressiveness.

“Even just for my own personal life, it felt really cathartic to be able to be angry and be able to scream and be a person who wears their emotions so closely to the surface,” Cooke adds. “Cherry is effervescent. It’s always there waiting to come out. She’s so reactive. And I’m hypervigilant for the warning signs before I react. This was like a rage room.”

In the tumultuous finale, Laura drugs Daniel to keep him away from Cherry. After Cherry breaks into Laura’s house, the duo find themselves in a physical altercation in the basement swimming pool. An addled Daniel discovers them fighting and jumps in to protect Cherry, accidentally holding his mother under the water for too long. The immediate interpretation is that Laura dies at the hand of her son, which is what the actors shot on set in London last year.

“There was an aerial shot of mom dead in his arms,” Wright says. “It was beautiful. He was holding her and he looks at Cherry and mom was dead in his arms in the way I had held him in Spain. But the [producers] cut it out because it showed that she had died.”

Laurie Davidson, who plays Daniel, and Robin Wright in a scene from “The Girlfriend.”

(Christopher Raphael / Prime)

The decision to have Daniel accidentally kill (or not kill) Laura resulted from a “big discussion,” as Wright puts it. The obvious conclusion was to have Cherry purposefully murder Laura, but Wright pushed against that.

“I said, ‘It needs to be the son that kills his mother because he will never get out of her clutches when she’s alive,’” Wright says. “He’s going to be in the middle of this war zone for the rest of his life. When he comes down [to the pool], he’s in a stupor. He’s almost hallucinating. When he dives in the pool and he sees [Laura] trying to drown his girlfriend, he doesn’t know what’s happened prior to that moment, which is she’s tried to kill mom. He has no sense of time and space because he’s under the influence.”

Cooke says she didn’t play the scene as Cherry wanting Laura to die. “Maybe people will read it as that, but I didn’t,” Cooke says. “She knows it’s gone too far. That’s what I played in the moment, shouting at Daniel to snap out of it. But, you know, she did get the house.”

Shooting the pool altercation was a challenging day. Much of the series was filmed in a private house in London’s St. John’s Wood neighborhood, which had an actual swimming pool in the basement. Although the pool was supposedly heated, the actors didn’t experience any warmth.

“It was f— hard,” Wright recalls. “For me, it was like waterboarding. People think, ‘Oh, my God, so much fun to act in those scenes.’ No, it’s not. It’s really tough. We were all drowned rats and freezing cold.”

Still, Cooke says it was enjoyable to go to such intense limits emotionally.

“It’s fun being able to go to the very edge of your emotional capacity in a very safe, fun, embracing environment,” she says. “We wouldn’t have been able to do that in the pool, and be able to try and murder each other and then laugh, if it wasn’t built on trust and love. … These characters do very heightened, crazy stuff, but it’s still seeped in honesty and naturalism, which you need in order to go on this journey.”

Robin Wright recalls how difficult shooting the pool scene was: “For me, it was like waterboarding.” Nevertheless, Olivia Cooke says it was “fun being able to go to the very edge of your emotional capacity.” (Jennifer McCord / For The Times)

At the end of the finale, Cherry and Daniel move into Laura’s mansion with the blessing of Daniel’s father, Howard (Waleed Zuaiter). Daniel discovers a voicemail from Laura recounting how Cherry’s mother, Tracey (Karen Henthorn), warned of her daughter’s malicious motives. But while Daniel is clearly in trouble, Wright says you’re not necessarily meant to interpret it as Laura being completely out of the picture.

“We wanted to leave it a little bit open,” she says. “You see the pregnant family living in the Sanderson house and mommy’s gone. Could Laura still be alive? Did she really die? Has she just been shunned to the priory?”

Wright says they wanted to leave it to the audience to decide what happened.

“But Daniel is awakened,” she adds. “If Laura is alive, he could go back to her and say, ‘I now believe you and now I’m with a crazy woman and afraid she’s going to kill me in my sleep.’ There are many iterations where it can go if there is a Season 2.”

As of this interview, no announcement has been made about another season. Cooke, who also stars as Alicent Hightower in “House of the Dragon,” says she would have to get permission from HBO to be part of a concurrent episodic series. Plus, as Wright notes, it’s all about the algorithm. “You always have to wait and see if it’s a semi-success,” Wright says. She adds, turning to Cooke, “If there is a Season 2, I think you should kill the cat in Episode 1, gut it and wear it as a hat.”

For Wright, that’s part of the appeal of being an executive producer — she could brainstorm all the unhinged things that could happen between the characters. She loved coming up with story ideas and character backgrounds, and helping to sculpt the ending, which differs from the novel, was pure joy.

“This was my first opportunity to develop something from the ground up,” says Robin Wright, who executive produces and is a director on the series. “I took a bunch of personal stories, things that I’ve heard, and threw them in there.”

(Jennifer McCord / For The Times)

“This was my first opportunity to develop something from the ground up,” Wright says. “I took a bunch of personal stories, things that I’ve heard, and threw them in there. Like Laura kissing her son on the lips — that came from a friend of mine. And Laura spraying Cherry with her perfume in a shop and saying, ‘Daniel loves this,’ came from someone on set. Things were constantly percolating.”

Wright directed the first three episodes, setting the visual and thematic tone for the series, while Andrea Harkin took on the latter three. The actor says there was a real freedom on set, which was helped by the rehearsals the cast was able to do before filming. She made it a point to always give the actors their own take for each scene.

“Generally, I’d use the take where they went for a free-for-all,” she says. “You get locked in a box as actors. We all do. You pick a choice and you stick with that choice. But when you throw that out the window, the s— that comes out of actors is amazing. That’s what’s so beautiful about being able to direct and being an actor myself. I love watching how it evolves and the light that comes out of them and the emotion that’s brought to the surface.”

“I’ve never acted opposite my director before,” Cooke adds. “The chain of command was so short. Robin was acting with me, but also watching to see what I do and changing her performance to my reaction, which was amazing. It makes it very alive and kinetic.”

Ultimately, it’s up to the viewer to decide whether Laura or Cherry is the villain of “The Girlfriend.” And, as Wright says, it’s simply a matter of how you see things.

“You as the viewer get to decide: Is there a truth, or is it just subjective?” she says. “Because it is subjective for each of our perspectives and we own it. It happened the way you personally know it happened. But the truth lies somewhere in between.”

It is unlikely that Venkatesham will rule Spurs with an iron fist. He is a firm believer in a culture of inclusivity.

He’ll lead by example rather than being ultra vocal, sources say.

“He’s a leader – but an understated one,” said one of his colleagues at the Emirates.

When it comes to making football-related decisions it is very likely he will be guided by the expertise of head coach Thomas Frank and technical director Johan Lange.

At Arsenal, it is noted that he generally let Edu and Arteta shape the football operation in terms of performance.

That may sound a given. But ask managers up and down the country – it isn’t.

He is viewed by those who worked alongside him at the Emirates as an efficient administrator, whose intelligence allows him to analyse and understand information quickly.

That strength allows him to make relevant contributions internally and, on a wider basis, it has allowed Venkatesham to expand his influence.

For example, he was a key member of the European Club Association, though he has now relinquished his position with the organisation.

It is said his amiable persona allows him to deal smoothly with characters who perhaps seem more assertive than his exterior suggests he is.

It will be interesting to hear if Venkatesham adopts an abrupter approach as he seeks to lay down a marker in the post-Levy era.

If first impressions are important, then those at the Emirates will tell you that Venkatesham makes a good one. In that sense, relationship building – internally and externally – is cited as one of Venkatesham’s key strengths.

Levy – despite often facing the wrath of irate supporters who pinned the blame for Tottenham’s flaws squarely on him – was liked behind the scenes at Spurs.

He was good to his staff. For instance, when Spurs would travel on pre-season tours, he would ensure the club’s support staff were provided with the same privileges as the players.

But it was Levy’s relationship with rival clubs that often left a sour taste; the now departed executive chairman’s infamous fierce negotiation style left him unpopular in boardrooms across the country.

It will be interesting to see how Venkatesham’s elevation, given his genteel and friendly personality, changes the dynamics between Tottenham and their rivals at boardroom level.

Will his “nice guy” identity be a strength or a weakness in a sport that is cut-throat?

TOTTENHAM have announced that Daniel Levy has stepped down from his role as Executive Chairman after nearly 25 years at the helm.

The huge announcement on Thursday evening brings to an end a quarter of a century of his leadership at the club.

1

Levy oversaw regular European qualification and two trophies during his era – the 2008 League Cup and last season’s Europa League triumph.

He also played a key role in Tottenham’s moves into their new training ground and their new stadium.

But fans want to know what that means for the club.

What does Daniel Levy leaving mean for Tottenham’s ownership?

There will be no changes to the ownership or shareholder structure of the club, Tottenham have announced.

Daniel Levy said: “I am incredibly proud of the work I have done together with the executive team and all our employees. We have built this club into a global heavyweight competing at the highest level.

“More than that, we have built a community. I was lucky enough to work with some of the greatest people in this sport, from the team at Lilywhite House and Hotspur Way to all the players and managers over the years.

“I wish to thank all the fans that have supported me over the years. It hasn’t always been an easy journey but significant progress has been made. I will continue to support this club passionately.”

Sheridan Smith and Daniel York Loh play Ann and Charles Ming in I Fought The Law. But filming for the ITV drama was taxing – Daniel was notably reminded of a personal tragedy.

Daniel York Loh appears in I Fought The Law – but filming for the series brought some sad memories back to the surface.

Her name was once linked to one of Britain’s most haunting murder cases. Now, Julie Hogg’s tragic story comes to the small screen in I Fought The Law, a four-part drama series written by Grantchester’s Jamie Crichton and based on For The Love Of Julie – a memoir written by Julie’s mother, Ann Ming.

Sheridan Smith portrays Ann, and the series charts her extraordinary fight for justice. “It’s what Ann came up against,” Sheridan, 44, says.

“It was one thing after another. It was relentless. I did nine weeks shooting it and I was a mess. I don’t know the strength it took for Ann to keep fighting. I’m absolutely in awe of her.”

Starring opposite Sheridan as Julie’s father Charles is Daniel York Loh. Charles Ming – “Charlie” in the show – was the steadfast mast to Ann’s boat throughout her battle for justice.

Daniel admits he hadn’t known Julie’s story before signing up. “I didn’t read the book until I got involved in the show,” he says. “As soon as I was asked to do it, I did it. Not many people are aware of it. I wasn’t very aware of it.”

Bringing Charles back to life, 12 years after his death at 88, carried its own weight. “I don’t have kids but I did have a younger brother. I lost him to a heroin overdose and I found his body,” Daniel shares.

The role also struck a deeper chord. “It reminded me of my own father in some ways,” Daniel explains. “You know, naturalised immigrant backgrounds, very British in a lot of ways but regarded as foreign. There’s a sense of displacement in that.”

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Julie was 22 years old when she vanished from her Billingham home in November 1989, leaving behind her young son Kevin. Her mother, Ann, immediately knew something was wrong. “I was convinced something had happened to my daughter from day one,” says Ann.

But police believed otherwise. “They thought she could have gone to London to start a new life,” Ann says. “It really was frustrating.” Three months later, Ann’s maternal instincts were tragically vindicated.

She discovered Julie’s body herself, hidden under the bath at Julie’s home. “It gave me strength because I’d been proven right,” Ann now says.

The investigation soon identified a suspect: William “Billy” Dunlop. He stood trial for Julie’s murder twice, but juries failed to convict on both occasions.

Then, while serving a prison sentence for unrelated violent offences, Dunlop confessed to Julie’s killing. But there was a twist: under the centuries-old double jeopardy rule, he couldn’t be tried again for the same crime.

For Ann, giving up wasn’t an option. She petitioned politicians for more than a decade, lobbied the media and refused to let Julie’s case fade from memory.

The cast is rounded out by Luther’s Enzo Cilenti as DS Mark Braithwaite, Doctor Who star Marlowe Chan-Reeves, who plays Ann’s son Gary, Grace actor Jake Davies as Julie’s ex Matthew, Vera actor Jack James Ryan as William Dunlop and Unforgotten’s Andrew Lancel as Guy Whitburn QC.

Ann’s determination inspired the Criminal Justice Act 2003, which introduced new exceptions to the double jeopardy rule in both England, Wales and later Scotland. Ann still calls for other countries to follow suit.

“It’s being debated in Australia,” Ann says. But she doesn’t want the change to stop. “I’d like to meet all world leaders to change this law around the world.”

In 2006, Dunlop finally pleaded guilty to murder and was sentenced to life in prison, with a minimum term of 17 years. Though her battle has ended after more than a decade, Ann’s resentment lingers.

“I feel angry that we were never allowed to meet up with the forensic team,” she says. “Nobody was sacked. One went onto be commander. That wasn’t right. I never got an apology from the police. Nothing at all.”

This relentless fight is the backbone of I Fought The Law. For Sheridan, stepping into Ann’s shoes was a privilege and an emotional burden. “I can only imagine and think if it was my child, but it was emotionally taxing,” she says.

Sheridan fully immersed herself in Ann’s world, devouring documentaries about the case and Ann’s book. “I get mad at myself if I don’t feel the actual pain and trauma. I wanted to make Ann proud and get her story justice,” she says.

Ann was also present as a consultant on the set while filming took place in North East England. “She was a huge support and very crucial to the production the whole way through,” series director Erik Richter Strand says. “Sheridan is in every scene. She doesn’t get many breaks. We had to make that set safe, practical and comfortable for Sheridan.”

The transformation was physical as well as emotional. Sheridan swapped her brunette style for Ann’s blonde locks. But she dreaded one scene above all: the bathroom scene, where Ann finds Julie’s body. “I knew I had that coming, I wanted to get that scene out, it was a bit scary,” she says. “I knew it’d be torturous.”

Sheridan’s own experience as a mother – she shares her five-year-old son Billy with former partner Jamie Horn – gave the role an added resonance.

“It was my first role as a mum,” she says. “It’s your worst fear, isn’t it? No one should have to go through that. I was emotionally attached to the whole thing.”

“When I did Mrs Biggs, I tried to think of my mum who lost her son, my brother,” she says, referring to her older brother Julian, who died of cancer at the age of 18.

“This time, there was a different layer. Just thinking how I would have felt in that moment, if it was my little one. This was much more powerful, that’s probably why it was a bit difficult.”

Her efforts paid off – Ann couldn’t be happier with her portrayal and the pair have even gone on to form a bond. “We’re friends for life now,” Sheridan says, holding tightly on to Ann’s hand.

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Leeds United manager Daniel Farke calls his side’s win against Everton “special” as the newly promoted side begin the new season with a 1-0 victory at Elland Road.

MATCH REPORT: Leeds edge past Everton on Premier League return

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LONDON — Oleksandr Usyk disagreed with the idea that he’s become one of boxing’s all-time greats, but the evidence is mounting after his fifth-round knockout of Daniel Dubois at Wembley Stadium on Saturday.

The victory, sealed with a crunching left hook to Dubois’ jaw, made Usyk the undisputed world heavyweight champion for a second time.

The undefeated southpaw retained his WBA, WBC and WBO belts and regained the IBF belt he relinquished just over a year ago.

The bad news for opponents — especially the British ones that he keeps beating — is that the 38-year-old Ukrainian has no plans to stop anytime soon. He said he’s still a “young guy” and named Tyson Fury, Derek Chisora, Anthony Joshua and Joseph Parker as possible next foes. Jake Paul threw his own hat in the ring.

“I will continue boxing and I will continue training, but now I cannot say who my next opponent will be,” Usyk said at his press conference.

“I prepared 3 1/2 months, I’ve not seen my family, my wife. Every day I live with my team — 14 guys in one house. Now I want to go back home.”

Usyk dropped Dubois twice in the fifth — the second time with a lunging left hook midway through the round after Dubois missed with a right. The London native looked stunned on the canvas and couldn’t beat the count before about 90,000 spectators at Wembley.

Usyk, best known as a slick tactician rather than a power puncher, certainly answered questions about his age and whether he’d slow down.

He said that hook is called an “Ivan.”

“Ivan is like a big guy who lives in [the] village and work in (a) farm… it’s a hard, hard punch,” Usyk said.

Ukraine’s Oleksandr Usyk and Britain’s Daniel Dubois trade punches during an undisputed world heavyweight boxing title fight in London on Saturday.

(Frank Augstein / Associated Press)

No controversy

Usyk (24-0, 15 KOs) beat Dubois for the second time in under two years and this time there was no low-blow drama. It was a ninth-round stoppage in Poland with, of all things, a straight jab. But the finishing shot Saturday was a no-doubter.

Dubois (22-3, 21 KOs) joined British countrymen Fury and Joshua in having lost twice to Usyk, who was an undisputed world champion as a cruiserweight before he moved up in weight six years ago.

The 27-year-old Dubois’ last fight — also at Wembley — had been a stunning knockout of Joshua last September.

He couldn’t muster the same magic, telling DAZN: “I gave everything I had. Take no credit away from that man, I’ll be back.”

The Briton gave a better showing than two years ago, when Usyk peppered him with jabs and won almost every round. Between the fourth and fifth rounds Saturday, Dubois’ corner was urging him to use a double jab but there was not time to carry out the orders as Usyk ended it shortly thereafter.

Dubois was hoping to become the first British heavyweight to hold every major belt since Lennox Lewis just over 25 years ago.

Dubois had inherited the IBF title that Usyk vacated last year when the Ukrainian chose to focus on his rematch with Fury.

Usyk said flatly “No” in response to whether he thinks he’s one of the sport’s all-time greats.

He said he’s just disciplined.

“I don’t have motivation, I have discipline. Motivation is temporary,” he said.

U.K. has been good to Usyk

Usyk said Britain has been like a “second home” to him. He won a gold medal at the 2012 London Olympics. He dethroned Joshua at Tottenham Hotspur Stadium in 2021.

“I’m very grateful for this country. Thank you so much, you’re the best,” he said.

In 2008 in Liverpool, Usyk was crowned European amateur champion in the light heavyweight category.

In his last fight at the cruiserweight level, Usyk knocked out Liverpool’s Tony Bellew in Manchester. He remains undefeated as a professional and hasn’t lost any bout in 16 years.

Jake Paul eyes Joshua and Usyk

Unsurprisingly, Paul had his share of the spotlight Saturday. He was loudly booed during his entrance to the stadium — shown on the big screens.

The YouTuber-turned-boxer told DAZN that a fight against Joshua is “going to happen,” possibly at Wembley.

After the ring cleared out, Paul and Usyk engaged in a brief “stare down.”

Paul posted a message on his social media accounts: “Congrats to one of the greatest heavyweights of all time… I respect you a lot. Now we do an MMA match for the world.”

He added: “First AJ then OU. Book it.”

Frank Bruno was among the VIPs. The London native won the WBC heavyweight belt 30 years ago at the old Wembley Stadium when he beat Oliver McCall. He was knocked out by Mike Tyson six months later.

Usyk entered the stadium with an Eeyore stuffed donkey from the “Winnie the Pooh” books tucked into his jumpsuit. He brought it to past fights as well, apparently given to him by his daughter.

Maguire writes for the Associated Press.

Pop star Charli XCX has confirmed her marriage to George Daniel, drummer of band The 1975, after a video snapped by a passer-by sparked online speculation of a wedding.

The pair were spotted posing on the steps of Hackney Town Hall on Saturday afternoon – Daniel in suit and tie and the ‘brat’ idol in white.

A TikTok post from the singer several hours later confirmed the nuptials, racking up 3.9m views and thousands of congratulatory comments for “Mr and Mrs XCX”.

Charli XCX’s album, Brat, became a global cultural phenomenon on its release last year. Filling social media feeds with viral videos and receiving critical acclaim, its success saw her perform a headline slot at Glastonbury in June.

The singer confirmed the news while dressed in an off-the-shoulder white dress and her signature dark wraparound sunglasses.

She stomped away from the camera – pretending to be annoyed – on a video beneath text that read, “When George isn’t crying when he sees me walking down the aisle.”

But “Luckily he did xx” was the accompanying caption.

A later post, which included shots of Daniel wearing Charli’s veil, gave “bridal party energy”, according to XCX.

The footage from outside Hackney Town Hall suggests the couple had an intimate ceremony.

The two have been public about their relationship for several years and shared engagement photos in 2023.

They have also worked together multiple times, first collaborating on Charli’s song Spinning and then on Brat, with Daniel named as co-producer and co-writer of two songs.

He also took part in the viral “Apple dance” at one of Charli’s London shows, appearing on the concert’s screens in front of thousands of fans.

His band The 1975 is fronted by singer Matty Healy and are well known for their song Chocolate. Daniel has released several tracks as a solo artist in recent years.

Daniel Dubois and Oleksandr Usyk hit the scales in London before their undisputed heavyweight title fight on Saturday at Wembley Stadium.

READ MORE: Body shots and ‘dirty’ tactics – how does Dubois beat Usyk?

Follow live text and radio commentary from 20:00 BST on Saturday on BBC Radio 5 Live, BBC Sounds and the BBC Sport website and app.

One of Coronation Street’s longest running characters is reportedly set to be killed off in explosive scenes after being told his time on the show was coming to an end

A Coronation Street icon is set to be killed off, according to reports. After 11 years on the Weatherfield cobbles, time is said to be up on Daniel Brocklebank’s Billy Mayhew.

And in true Corrie fashion, it’s said bosses are planning an explosive exit for the long-running star. The actor behind the man of the cloth was told earlier in the year that his character was to be written out of proceedings on the ITV soap.

It has now been claimed the archdeacon will be killed off in one of the biggest storylines of the festive period. According to sources, bosses don’t have any plans for Daniel’s character to return.

“There aren’t any plans to bring him back onto the soap so it makes sense make his exit the most impactful and explosive it can be,” a source told the Sun.

“It’s likely Billy will be a focus point of the Christmas/New Year storylines, with fans expected to be at the edge of their seats in the run-up.”

With little else known on his exit, fans will eagerly await any big storyline. Daniel, meanwhile previously admitted he was “sad” to be leaving the soap. He recently said: “I have been working on ‘Corrie’ for a quarter of my life.

“I have adored every minute I have been in that building and have never not looked forward to going into work. I love everyone who works on this show and whilst I am sad to be going, I am equally excited to see what the future holds.”

The actor’s partner, Jordan Coulthard later admitted the decision to leave the Corrie cobbles wasn’t one that was led by Daniel. He also branded his axing as a “huge mistake” by bosses.