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PASSENGERS face further disruption in Europe as an Italian airport remains closed following a volcanic eruption for yet ANOTHER day.

Catania Airport in Sicily has been forced to cancel hundreds of flights since the weekend due to Mount Etna erupting and will remain closed until at least tomorrow.

Over the past few days, 700 flights have been cancelled with others diverted to neighbouring airports including Palermo.

As a result of the disruption, families who have had their flights cancelled have been left stranded, with videos on social media showing travellers sleeping on the airport floor and even luggage belts.

In its latest statement, the airport said: “Due to Mount Etna’s eruptive activity, the closure of Sector B3 has been extended, resulting in the suspension of arrivals and departures until 2:00 AM on August 14.

“Passengers are kindly advised to check the status of their flight with their airline before heading to the airport.

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“Further updates will follow in the coming hours.”

Evgenia Filimianova, 39, was caught up in the chaos after flew to Sicily last week from London to attend a friend’s wedding.

However, when she was due to fly to Athens from Catania earlier this week, her flight was cancelled just 30 minutes before it was due to depart.

Evgenia said: “We were having a very nice day in Taormina, at the wedding, enjoying our time there, but we could see the eruption and the volcano spewing lava.

“The locals seemed very chill and we didn’t get any emergency texts or direction from the people at the hotel, so we weren’t too worried.

“But then I started reading about travel. As soon as there is ash, the airports start closing.”

She added that there were loads of people “sleeping on the floor” when they arrived at the airport, with most other flights and buses already booked up.

Catania Airport isn’t the only spot impacted by the eruption either – Malta International Airport cancelled 19 flights earlier this week as well, with more delayed today.

Dodgers first baseman Freddie Freeman tracked Royals hitter Isaac Collins’ fly ball through foul territory to just outside the visiting dugout at Dodger Stadium.

He had a plan. With one out in the top of the eighth inning, Freeman was going to lean over the rail to make the catch.

He shuffled, shifted his weight, and the ground disappeared out from under him.

“Obviously there was no rail,” a sore but apparently not seriously injured Freeman said after the Dodgers’ 4-2 win against the Royals.

He pitched sideways, practically clearing the first set of steps and landing on the second flight. Freeman braced himself on his right side, which took the brunt of the impact. But thanks to the angle of the steps, he never hit his head, he said.

“Kneecaps are sore, shoulder is sore, hand is sore, wrist is sore,” Freeman said. “I mean, I fell. But I’m in good spirits. I’ve already cold tubbed. I’ve done everything I needed to do to put myself in a position to be able to hopefully play [Thursday].”

Manager Dave Roberts described Freeman’s status as “day to day” and noted that he’d already planned to give him a day off Friday, the second game of a four-game series against the Brewers. The Dodgers will monitor how Freeman is feeling Thursday morning.

“I think that we really dodged the bullet,” Roberts said. Freeman did not undergo any imaging on his various aches and pains, although he said head athletic trainer Thomas Albert asked if he felt like he needed any.

“I said, ‘Do you want to do a whole-body X-ray?’” Freeman recounted. “And he was like, ‘We can.’ But no, I’m OK.”

Freeman was sore immediately after the fall but finished that half inning in the field. He said after the adrenaline wore off, he motioned to the dugout that he might need a pinch-hitter in the bottom half of the eighth. He was due up first.

Utility player Tommy Edman took the at-bat for him, and Kiké Hernández replaced him at first in the top of the ninth.

It wasn’t the first time Freeman has taken a tumble chasing after a foul ball, but he estimated the last time was about a decade ago, with the Braves in Arizona before they extended the netting.

“Actually went down probably like 10 feet,” Freeman said. “I hit seats and everything. So not my first time.

“I didn’t catch that one either.”

In 2021, when HBO Max’s “Hacks” first introduced us to fading Vegas comic Deborah Vance (Jean Smart), we briefly met Vance’s hyper-devoted young talent manager Jimmy LuSaque Jr. (Paul W. Downs) and Kayla Schaeffer (Megan Stalter), the braying, inept assistant foisted upon him. Over the years this turbulent pairing found its groove, opening their own agency while Kayla discovered boundaries (sort of). By “Hacks’” fifth and final season, which concluded this spring, a growing Jimmy-Kayla fan base was clamoring for a spinoff. “We’re not doing it, but I wish,” says Stalter as she sits beside Downs during a video call from Hudson Yards in Midtown Manhattan. “I think it would work.”

These days, Stalter, who is nominated for supporting actress in a comedy, is making her Broadway debut as the campily reimagined Mary Todd Lincoln in Cole Escola’s “Oh, Mary!” Meanwhile, Downs, who is also co-creator, co-showrunner, writer and director on “Hacks,” is nominated for supporting actor, writing and comedy series (as executive producer). Is there a dream of a future project in which he wears just one hat? “I love doing all the jobs,” says Downs, who started out as a writer-performer. “But I’d love to do a superhero so that I could just work on my nutrition, my fitness and my lines.”

Paul, one early Megan sighting was her stand-up act at Echo Park’s Little Joy. What about her made you think you’d found your Kayla?

Downs: She’s so singular and funny. It’s like stream of consciousness and yet also material. We’d written the part before we’d seen Meg, but [after seeing] her in person, I came back to my co-creator, Jen Statsky, and I said, “It’s hers to lose.” There’s something about her that’s fearless, uninhibited.

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Meg, correct me if I’m wrong, but your first “Hacks” audition involved a dark, blurry self-tape.

Stalter: It wasn’t that well shot. My brother was filming, and he does a good job, but his apartment in New York was really slanted and there’s lots of dogs running around. I was in a weird outfit. And that’s where I did my self-tape.

Was submitting a bad self-tape part of a strategy to land the role?

Stalter: I didn’t know [the tape] was bad until years later when I watched it. [Laughs] I was a really experienced performer — I’d done stand-up and improv for nine, eight years. But I wasn’t experienced with auditioning. This part was the first thing I ever read where I was like, “I can see myself in this.” I really, really wanted it. I really tried hard to prepare for the audition.

When did it become clear that a Kayla/Jimmy scene has its own oscillating frequency?

Downs: Even before we started, there was just inherent chemistry. I think we just really tickled each other. But, not, I mean, physically.

Stalter and Downs with Earl Brown, right, in “Hacks.”

When Jimmy is passionately advocating for something and Kayla is in the same frame, she’s often gesticulating, scrunching up her face or emitting noises like “pffffft.” But it never comes off as scene-stealing. How? Why?

Stalter: I can’t help but do it. Kayla’s so expressive. Even if I’m not talking, my face is doing a lot. Kayla can’t hide her feelings.

Downs: To know when not to derail something is a very hard thing to do. But Meg is a true comedian in that she understands not only how to improvise within the lane of the scene, but also the give and take.

Stalter: You’re going to make me cry.

Downs: She gets the comedy, the music of it. It’s like Mozart.

Stalter: [sob-choked voice] Stop. I’m not Mozart. You’re Mozart. And if I’m Mozart, then you’re Beethoven. And I don’t know why I’m crying.

Megan Stalter. (David Urbanke / For The Times)

In comedies, personal reps are always outrageous hustlers. Why take on the challenge of finding laughs in a manager who instead is sensitive, kindhearted?

Downs: We wanted to subvert what you’ve seen on TV before in terms of a manager. There’s also so many big personalities on the show. You need a counterbalance to that. One of the reasons we started to lean more and more into Jimmy working hard, being earnest, doing the right thing, is because he was in some moments the voice of the audience, the person that was grounded [amid] the chaos around him.

Was there a specific moment when it dawned on the “Hacks” team that Jimmy and Kayla deserved more airtime?

Downs: It was certainly something we felt. There was so much feedback. At a certain point, we were seeing people online saying, “Where are Jimmy and Kayla in this episode?” “Hacks” is about duos, but it was this particular duo that people really responded to. And then executives started to come and visit on days we were shooting. There were those kinds of little signals that happened.

True or false? When Meg graduated to series regular in Season 3, Paul insisted she be paid the same amount of money as him.

Stalter: [Surprised] Who told you that? Who told you that? [leans over and puts her head on Downs’ shoulder] That’s so nice. Thank you!

Downs: I’ve never said this before, but it was important to me that Meg and I had parity. So I said, “I don’t want to be paid more than her.” You can’t have Jimmy without Kayla. Or you can. But it won’t be as funny.

Stalter: Well, the first season I was paying to be on the show. [Laughs]

Downs: Yeah, we charged. So I felt bad.

Paul W. Downs. (David Urbanke / For The Times)

Who came up with the idea of using your red carpet appearances to send up celebrity culture? The costumes alone!

Downs: I’ll speak for myself, but [near the end of our final season] I started to get scared about not performing with Meg. And it was thrilling and exciting. It’s like doing improv and sketch when you first started. It’s so fun.

A highlight: Striking poses in orange leather ensembles identical to the matching attire worn by Timothée Chalamet and Kylie Jenner at the “Marty Supreme” premiere.

Stalter: It’s my favorite idea, but it wasn’t mine.

Downs: [“Hacks” producer] Genevieve Aniello said, “You guys should do something ‘Marty Supreme.’ Look at these outfits.’” And Meg was bold enough to be like, “We should do it at the Critics Choice Awards.” And I was like, “That’s in six days. That’s insane.” And Meg was like, “We’re going to get it done.”

Was there any blowback?

Stalter: We were at the SAG Awards and we walked past Timothée and I said, [singsongy voice] “Hey, it’s us…” And he goes, “Oh, should we get a picture?” He was so nice. But I then realized that he thought we came up for a picture.

Downs: But we weren’t, we were just walking to our seats. [Laughs] That night his publicist came over and showed us her phone. She’d sent him a photograph of us and he’d written back “incredible.”

Stalter: It was in lowercase.

Downs: It wasn’t screaming “INCREDIBLE,” just “incredible.” I said, “Oh good, he’s not upset.” And she was like, “No, he loves it.”

Stalter: I think he probably never does all caps.

Downs: That’s real star power.

(David Urbanke / For The Times)

Popular star Kerry Katona has been appearing on ITV’s Good Morning Britain this week

Former Atomic Kitten star Kerry Katona made an announcement on air.

The popular TV personality has been appearing on ITV’s Good Morning Britain this week, alongside various stars. Kerry arrived in the studio to discuss various topical news stories with hosts Kate Garraway, Richard Madeley and Ranvir Singh.

Kerry returned to screens on Wednesday (August 12), where she was joined by Richard, Ranvir and Nigel Havers. The group reflected on several of the day’s biggest stories, including the solar eclipse, Taron Egerton’s estrangement from his dad, and Coleen Nolan’s new boyfriend.

At the end of the segment, Richard said: “Nice chatting with you, but we’ve got to move on. Thank you very much indeed.”

Kerry enthusiastically replied: “Thank you!” Richard then asked if they’d be back tomorrow, before Kerry confirmed: “No. This is my last day today,” as she hugged Nigel.

Fans will likely be devastated to learn that Kerry won’t be returning to the sofa, after many expressed their delight at seeing her on the programme.

A viewer previously wrote on Instagram: “Loved you both on GMB you [have] been a daily tonic.”

Another added: “Love watching you on GMB,” while a third said: “Oh I love you, you crack me up x your cheeky love and your love of life x b***** amazing.”

A fourth viewer echoed the sentiment, saying: “You were absolutely fantastic sweetheart. Just real and saying it like it is…… and, you looked beautiful, too!” Someone else commented: “Great to see you on this morning Kerry. Lovely outfit. You brighten the show up, you’re so funny and great personality. Love all your work babe keep shining.”

Ahead of her final GMB appearance, Kerry took to her Instagram Stories to thank the team for making her feel so welcome.

“Good morning everybody. It’s eclipse day and it’s also my last day this week on Good Morning Britain,” she began.

“I just want to say I’ve had a fabulous time. Half the time I don’t know what I’m talking about and I’m winging it, but it’s been great. And I hope that I’ve made lots of people smile and I’ve brought a little bit of joy and silliness to people’s lives via the TV.

“So, today’s my last day, it’s been amazing, I’ve really enjoyed it. A big shout out to everyone at Good Morning Britain. The make-up artists, hair stylists, the runners, the producers, everyone! You’ve all been great, I’ve really enjoyed it.

“And today, I’m on with our Nigel, and I can’t bloomin wait! It’s because I’ve missed him, he makes me chuckle. So, make sure you’re all tuning in to Good Morning Britain today, around about 9ish. And it’s an eclipse day, it’s going to be a very full on, full day. Have a wonderful and blessed day!”

Good Morning Britain airs weekdays on ITV1 and ITVX at 6am

Disneyland’s yearlong, nostalgia-filled 70th anniversary celebration has come to an end. Attention now turns to preserving the resort’s legacy for the next 70 years.

We’re two years removed from the passage of DisneylandForward by the Anaheim City Council, the ambitious multibillion-dollar plan to reimagine and expand the world’s most famous theme park, and questions are now swirling on what’s to come.

Hints can likely be found by looking at what’s already been built, at least at Disney’s international parks. Documentarian Leslie Iwerks did just that with her new film “Disney Worldbuilders,” which will have its premiere this weekend at the all-things-Disney convention D23 at the Anaheim Convention Center and then stream on Disney+ starting Aug. 20.

Iwerks, the director of the recent, and terrific, “Disneyland Handcrafted,” comes from Disney royalty. Her grandfather, Ub Iwerks, was a legendary animator instrumental in the development of Mickey Mouse. Her father, Don, was a cinematic and special effects wizard who worked on numerous Disney attractions, including the Michael Jackson-starring film “Captain EO.” As a documentarian, Iwerks has explored Disney before as the director of “The Imagineering Story” and has a long career of films that touch on not just Hollywood but also politics and environmental issues.

Leslie Iwerks has dedicated a significant portion of her career to analyzing the Disney theme parks.

(Iwerks & Co. / Disney+)

If I had any concerns about the future of Disneyland, watching ‘Worldbuilders” helped ease them. That’s in part because the film makes it clear that the Disneyland template was pretty firmly set in place 70 years ago by park patriarch Walt Disney.

While it’s entirely possible for theme park spaces to jump the shark, so to speak, especially when they focus too much on marketing or re-creating familiar film and television moments (see, say, San Fransokyo Square at Disney California Adventure), “Worldbuilders” zeroes in on the parks’ enduring mission of being places of play. The film features interviews with the likes of Pixar chief Pete Docter, “Frozen” mastermind Jennifer Lee, Marvel maestro Kevin Feige and “Avatar” creator James Cameron, who collaborated with Walt Disney Imagineering to turn their cinematic universes into physical spaces for fans to interact with.

“I’m always blown away at the audacity of Walt saying, ‘I’m going to create the happiest place on Earth,’ and thinking that could actually be a business model,” Iwerks tells me.

“And what I learned about these filmmakers is that they were all inspired by the Disney parks,” she continues. “Unbeknownst to me, they had a spark going to a Disney theme park. It excited their imagination.”

“Frozen” co-director Jennifer Lee poses with a robotic Olaf at Disneyland Paris in a scene from Leslie Iwerks’ new film “Worldbuilders.”

(Roger Do Minh / Disney+ / Iwerks & Co.)

You see it in Shanghai’s “Zootopia”-inspired land, with its oversize benches that hide parking spaces for critter vehicles beneath. It’s an area full of movement, with puppets and animatronics gracing nearly every structure, aiming to capture wonder and silliness as much as it is the world of the film, which Iwerks notes was unexpectedly inspired by the original Disneyland. It’s present, too, in the “Frozen” area of Disneyland Paris, which seeks to reference and modernize the Disney fairy tale, using imagery of castles and magic not to symbolize happily ever after but familial and friendship bonds.

“All these lands allow you to explore, and allow yourself to be free, to play, to be whimsical,” Iwerks says. “They allow yourself to get out of your own ‘daily frets,’ as Walt called them. There are a lot of technologies vying for attention today, such as cellphones and gaming and lots of things, but there is something tangible about walking through a Disney park that is irreplaceable. That is that tangible sense of play that you can see, you can touch and you can smell. These are visceral memories that stay with us as human beings throughout our entire lifetime.”

Could either “Zootopia” or “Frozen” make its way to Disneyland? Neither, I believe, would be out of place, but there’s a special delicacy when adding to Walt’s original park. Even with the passage of DisneylandForward, land isn’t limitless. Expansion should be thought about not just for the next decade, but the next 50, leaving space for new stories yet untold. To place “Avatar” in Disney California Adventure is a definitive statement that the audiences of 2060 will want to hang with the Na’vi as much as those of 2030.

Thus, a wide-angle approach is best. When Pandora — the World of Avatar was built in Animal Kingdom at Florida’s Walt Disney World, it was done so with a thesis on themes of conservation and environmentalism more so than a focus on any of the film’s characters. Disney California Adventure’s own Cars Land is a love letter to Route 66 and roadside Americana as it much as it is an ode to the Disney/Pixar films.

At D23 in 2024, Disney released concept art of an “Avatar”-inspired attraction said to be coming to Disney California Adventure.

(20th Century / Disneyland Resort)

“Worldbuilders” makes it clear that as much as Disney’s parks have stayed the same, how we build themed lands has changed. Gone, for instance, are the big tent ideas of Frontierland, Adventureland and Fantasyland. Theme park designers today take a more targeted approach, bringing to life fully realized cinematic worlds such as Star Wars: Galaxy’s Edge or the aforementioned Cars Land. That’s not necessarily a negative. Galaxy’s Edge, for instance, succeeds because it’s a not a point-by-point re-creation of any locale seen in the films. Instead, it’s a place we can visit, and create our own tales.

It’s a reminder, for instance, that Disneyland, despite the prices, the crowds, the marketing or whatever hang-up one may find, endures because it allows us to, well, play. To be a little silly. And that was the lesson of Iwerks’ “Worldbuilders.”

“It’s about original thinking,” Iwerks says, when asked whether she believes it’s important to continually document the Disney theme parks. “So much of Imagineering is focused on original thinking. People can be really smart, but it doesn’t mean they’re an original thinker. One of the greatest things in the world is to create something out of nothing.”

We may arrive at a “Frozen” land wanting to see Anna, Elsa or, especially, the robotic Olaf, but we remember it because it gave us permission to imagine an alternate, more fanciful reality. Thus, it’s a treatise that it is not the intellectual property that makes Disneyland unique; it’s the belief in a more communal, playful world.

Speaking of D23 …

Theme park fans should get ready for some news this weekend.

Expect updates and details on previously announced — and well into development projects — such as Disney California Adventure’s “Coco” boat ride and two Marvel attractions, which will effectively double that park’s Avengers Campus. The centerpiece of the latter is a ride featuring many of the Avengers in battle across the multiverse with King Thanos.

The attraction, first announced in 2019, was given a name at 2024’s D23, Avengers Infinity Defense, and it will feature locations such as the Black Panther nation of Wakanda, Asgard and New York City. Early looks have it leaning heavily on visual effects interspersed with physical sets, but expect a deeper unveiling this weekend.

A recent photo of construction at Disney California Adventure’s Avengers Campus, where two attractions are under development.

(Todd Martens / Los Angeles Times)

Longer-term, fans are eager for word on what’s planned with the “Avatar” franchise, previously announced to take over part of the Hollywood-themed section of the park currently home to a “Monsters, Inc.” family dark ride. That attraction, Monsters, Inc. Mike & Sulley to the Rescue!, is slated to close in 2027 to make way for the Cameron-created franchise. There’s been some chatter, most of it online-driven and unsubstantiated, that Disney would pivot from “Avatar” to instead center “Zootopia,” but I’m not convinced. Clarity will arrive in the coming days.

I’ll refrain from diving too heavily into rumors, but expect at least one longer-term hint at a bigger swing, hopefully, for instance, the reimagined plans for what is currently the Toy Story Lot, as well as nearer-term updates on Disneyland’s post-70th entertainment. Fans, of course, will forever be hoping for Walt Disney Imagineering, the division of the company responsible for theme park experiences, to unveil that it is remaking Tomorrowland, which, while home to many a popular attraction, is also stuck with a number of underutilized buildings. While I encourage optimism and dreaming as much as any Disney parks fan, I’ll believe it when I see it.

Disneyland fans, however, may have to come to grips with the fact that some of the most exciting updates will be centered on Florida’s Walt Disney World. Imagineering is expected to at long last detail the attractions coming to the Magic Kingdom’s hotly-anticipated Villain’s Land. Also of note, a reveal of the “Encanto” attraction plotted soon for Animal Kingdom.

This week in SoCal theme parks

Key issues remain in union contract talks between the Walt Disney Co. and its parade, show and costumed characters.

(Jae C. Hong / Associated Press)

• A dispute in contract talks. Disneyland employees behind its parade, show and costumed characters have been negotiating their first union contract with the Walt Disney Co. since October 2024. The two sides remain apart on a number of key issues. Disney’s proposal to the roughly 1,700 workers represented by Actors’ Equity omits paid parental leave and cuts paid holidays from 12 to 11, according to an April 6 email reviewed by The Times. Disney says no benefits are being cut because the unit organized in 2024 and the talks are setting first-contract terms rather than modifying an existing agreement. Times Business writers Wendy Lee and Samantha Masunaga have more on the negotiations.
• New sound barriers coming to Hollywood Drift, says councilmember. Universal Studios Hollywood appears to be taking steps to address noise complaints regarding its new high-speed, outdoor roller coaster. The office of L.A. City Councilmember Adrin Nazarian stated the theme park will install two additional sound barriers to mitigate the sound of rider screams on its new ride Fast & Furious: Hollywood Drift, which have been described by nearby residents as “disturbing” and “untenable.” Nazarian’s office made the announcement Monday evening on social media. A Universal Studios Hollywood spokesperson has not yet responded to a request for comment.
• Montezooma’s is now open! Knott’s Berry Farm’s four-year overhaul of Montezooma’s Revenge into Montezooma: The Forbidden Fortress has reached its conclusion. The historic ride began welcoming guests late last week. Look for a report on the remodeled attraction here soon.
• Attendance at Disney parks is up. The Walt Disney Co. noted in its recent earnings call that attendance at its domestic parks for the three-month period that ended June 27 is up 3% over the comparable period last year. International visits remain a challenge, but the company noted that summer promotions helped fuel the increase, especially at Florida’s Walt Disney World.
• Cheap! A full year of Knott’s! At a time when it seems like everything is getting more expensive, Knott’s Berry Farm is currently running a heavy sale on 2027 season passes. Through Sept. 7, a base level pass is just $99, down from its non-sale price of $215. A “gold pass,” which also includes admission to Six Flags Magic Mountain, is currently $129, down from $240. while a “prestige pass,” which includes parking and a number of other perks, is $329, down from $399.
• Slash is back at Halloween Horror Nights. Guns ‘N Roses guitar slinger Slash is a staple at Universal Studios Hollywood’s Halloween Horror Nights, and is returning to create a soundtrack for a haunted house this year. Slash is providing music for a house titled ‘“Killceañera: Music by Slash,” an original maze that flips the script on a teenage rite of passage. Here, a 15-year-old girl seeks revenge on those who have wronged her. Halloween Horror Nights begins Sept. 3.

The best thing I ate at the parks this week

The fish and chips from Gordon Ramsay at the Carnaby at Downtown Disney.

(Todd Martens / Los Angeles Times)

I admit, Downtown Disney’s Gordon Ramsay at the Carnaby is growing on me, especially if one can get seated on the outdoor bar patio, which is far more welcoming than the pub’s indoor bar. I found the latter a little cold and unwelcoming, but the back patio is more lively, especially with pennant race baseball on its big screen TV. I finished a recent Disneyland day with the Carnaby’s fish and chips, which is essentially one giant piece of cod with fries and “mushy peas.” It’s pricey, at $33, but it’s also incredibly hefty and filling. It’s certainly the strongest fish and chips on Disneyland property, and sea salt-infused batter was so crisp and rich that it almost felt wrong to slather the fish in tartar sauce. I couldn’t quite place my finger on the flavor — I’ve read that Ramsay’s fish and chips recipe includes custard powder — but there was a burnt buttery tone that was far from dry. I’ll be back.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Stay tuned to Mr. Todd’s Wild Ride this week for all the big Disney parks news from D23. Saturday evening Disney will be hosting a panel at the Honda Center to reveal new details on attractions coming to its theme parks around the world, and I’ll be there delivering breaking coverage straight to your inbox.

Also, say hi if you see me wandering the Anaheim Convention Center. I’ll have Mr. Todd’s Wild Ride stickers to share.

First in a series of stories profiling top high school football players by position. Today, Chris Fields III, Carson quarterback.

If you want to motivate quarterback Chris Fields III, doubt his skills. He’ll respond like an underdog boxer delivering a knockout punch. Just when you least expect him to step forward, he’ll find a way to produce.

Last season for Carson High, he was one of the best multidimensional quarterbacks in the Southland, passing for 2,031 yards and 29 touchdowns while rushing for 958 yards and 13 touchdowns in leading the Colts to the City Section Open Division championship.

He’s 6 feet 1, which some consider a roadblock to playing at the highest level, but it’s Fields’ intangibles that separate him.

He has spent most of the summer in the weight room, making himself a 205-pound, Marvel-like character capable of super strength.

“Goals don’t get accomplished skipping days,” he said of his training routine.

Every morning, he engages in deep stretching exercises. At night, there are ice baths. Taking care of his body for a season that could reach 14 games is one of his most important priorities.

He trusts his faith and his mother, who has raised him as a single parent. She’s so heavily involved in his football activities that she watches and breaks down film with him and comes to practices to support him.

“She could put on shoulder pads and a helmet and tear up a defense any day,” Fields said. “I’ve been through everything with mom.”

He remembers the days when the family struggled to pay for food and a place to stay.

“We came from the bottom,” Fields said. “We were heavily impoverished. If my mom has nowhere to sleep and she’s having to work multiple jobs while going to school to provide for me and my sister, I should be able to pay her back by doing well.”

So whatever anyone thinks, Fields’ drive is to make his mom proud, whether it’s in the classroom, on the field or by being respectful to strangers.

“If you’re at our games, you’re going to hear her in the crowd,” Fields said.

One of Fields’ strengths is to improvise. He understands how to make split-second decisions, and many involve whether to stay in the pocket or take off and run with his speed.

“When I determine that I’m going to run, it usually comes from pre-snap read knowing where my guys are,” he said. “If I feel the rush, I try to hang in there, try to extend the play but will do whatever is needed. I feel my legs are just as valuable as my arm.”

And his arm is pretty good — like, throwing a spiral 67 yards good.

He’s tough with the kind of leadership skills that inspire teammates to rally around him.

It’s another season of quality quarterbacks with the class of 2029 particularly strong after terrific freshman seasons by such players as Thaddeus Breaux of L.A. Hamilton, Ford Green of Westlake, Marcus Washington of Cajon, Jonah Tuaniga of Long Beach Millikan and Steven Moore of La Sierra. Add Evan McCalister of Valencia, Ezrah Brown of Orange Lutheran and Jeremy Mellalieu of Chaminade and you have the makings of a stellar sophomore class.

Fields said he understands the college recruiting grind. Everyone has their own idea of what kind of quarterback fits their offense.

“With schools who don’t typically have mobile quarterbacks, I always encounter, ‘I have to see the person,’” he said. “But I’ve never heard, ‘You’re too small.’ It’s all a perception. It comes down to whether they like you or not. I really want to play at the highest level of college football. If God has other plans, I’m willing to be humble and walk that path.”

During the summer, Fields committed to Georgetown, where academics and athletics can lead to a great future.

Wednesday: Gardena Serra running back AJ McBean.

Quarterbacks to watch

Thaddeus Breaux, L.A. Hamilton, 6-5, 225, So.: Has physical skills to be national prospect

Brady Edmunds, Huntington Beach, 6-5, 225, Sr.: Ohio State commit has been three-year starter

Chris Fields III, Carson, 6-1, 200, Sr.: City player of the year committed to Georgetown

Jack Hurst, Laguna Beach, 6-4, 190, Sr.: Passed for nearly 3,000 yards and 45 touchdowns as a junior

Jaden Jefferson, Corona Centennial, 5-10, 170, Sr.: Hawaii commit is dangerous passing or running

Koa Malau’ulu, St. John Bosco, 6-2, 180, Jr.: Will have blockers needed to have MVP season

Ryan Rakowski, Palos Verdes, 6-0, 180, Sr.: Nevada commit is one of the most accurate passers

Russell Sekona, Mater Dei, 6-3, 230, Jr.: Big adjustment moving to Trinity League

Taylor Lee, Oxnard Pacifica, 6-2, 185, Sr.: Record-setting junior season for Portland State commit

Dane Weber, Chaparral, 6-1, 210, Sr.: California commit passed for 3,645 yards and 41 touchdowns and ran for 14 touchdowns

DISRUPTION is continuing to cause problems for Brits heading to a major UK airport today.

If you are flying from London Heathrow Airport today you might want to check your travel route before you head off.

It comes after a tunnel at the airport has closed, leaving only one open for trains to head through.

A water leak forced the closure between Hayes & Harlington and Heathrow Airport and today, Elizabeth Line services running through the tunnel are facing severe delays.

Heathrow Express services between London Paddington and the airport are impacted, with just two running per hour instead of four.

Cancellations and delays are expected until the end of the day

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Tickets are being accepted across the Piccadilly Line as well as numerous different buses.

In a statement on Heathrow Airport’s website, it says: “Due to a partial tunnel closure, the Heathrow Express and Elizabeth Line are operating a reduced service to/from Heathrow.

“The Piccadilly line is operating as normal. Pre-paid Heathrow Express tickets will be accepted on the Elizabeth Line.

“Please allow extra time for your journey. We apologise for any inconvenience caused.”

Delays and cancellations also occurred yesterday.

There were also warnings in place for those travelling to Gatwick Airport due to local wildfires.

DISRUPTION is continuing to cause problems in Italy, after days of flight cancellations.

Flights at Catania Airport in Sicily were expected to restart yesterday, but there are further delays as ash caused by the eruption of Mount Etna continue to drift into the airspace.

Arrivals at Catania Airport were initially suspended until 5pm yesterday – but this has been extended until 7pm (6pm UK time) today.

A few departures are permitted to take-off at the airport, but only from runway 08.

On FlightRadar24, most departures remain cancelled with more scheduled to take-off after midday.

One easyJet flight to London Gatwick scheduled for 10.35am has been cancelled.

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And a flight to London Gatwick with British Airways this evening at 7.55pm has also been cancelled.

However, a Ryanair flight to London Stansted is scheduled for departure at 11.10am.

There has been disruption since Saturday at Catania Airport after an eruption on the volcano.

One Brit travelling home from Sicily over the weekend wrote on X: “Had a superb holiday in Sicily.

“Getting home was interesting.. Catania flight cancelled due to Etna → 3hr taxi to Palermo → flight cancelled → slept at airport → Rome → taxi to Naples → Gatwick → taxi to Luton. Only a day late but very happy to be back at the nest.”

Palermo Airport, Sicily’s other major airport on the northwest coast, remains unaffected, with flights operating as scheduled.

Brad Pitt has revealed that he’s back on the sauce.

During a vulnerable interview published in Esquire on Monday, Pitt said he’d started drinking again, in moderation. “I was sober for seven years,” he said. “And then I got back off the wagon.”

The be-all and end-all of movie stars, Pitt had a messy, highly publicized (and litigated) divorce from fellow crème de la crème star Angelina Jolie that stretched from 2016 to 2024. Jolie filed to end the power couple’s two-year marriage after an alleged alcohol-fueled incident on a private plane. The fallout has been consequential for both stars, and served as the catalyst for Pitt seeking help through Alcoholics Anonymous.

Now, maybe after a seven-year itch, Pitt is trying to rework his relationship with alcohol, this time “in a more restrained manner.”

“I got overconfident a couple times, went, ‘Yep, nope, not good for me. Not in big quantities,’” he told Esquire.

When it comes to wine, Pitt says, “Well  . . .  I can have a few. But I can’t have a lot. I have to be professional about it.”

The “Heart of the Beast” star has been candid about his sober-curious journey in recent years and publicly thanked actor (and sponsor to the stars) Bradley Cooper for helping him get sober. “I got sober because of this guy,” he said during a 2020 acceptance speech at the National Board of Review’s annual awards gala. “And every day has been happier since.”

And last June, the Oscar winner sat down with Dax Shepard for an episode of “Armchair Expert” and opened up about the positive experience he’d had in the 12-step program. “I am a stubborn f—, but when I’ve stepped in s—, I’m pretty good at taking responsibility for it and owning up to it,” he told Shepard. “And now it’s a quest to … make sure it doesn’t happen again.”

In the Esquire story, Pitt admitted that, during the darkest period of grappling with what he referred to as “family stuff,” he could see how suicide might feel like relief — but that his survival instinct kicked in. He discussed feeling immense grief and how that grief can leave a gaping hole. Rather than climbing out of it, Pitt said he thought of it as “going through it.”

“And trying and trying and trying and trying to the point of exhaustion and then trying again,” he told the magazine. “I don’t want to ignore the place where you run up against the wall. But I just one day woke up, and it just felt a little sunnier and the air felt a little sweeter. Just microdoses of it.”

Hope-Bell, Edwards and Wallace made first team debuts, as did batter Callum Nicholls, 22, and Australian paceman Connor O’Riordan, whose bid to develop in Wales after missing out in New South Wales echoes the example of county stalwart Timm van der Gugten.

Wicket-keeper Alex Horton, 22, was the top run scorer.

Nicholls and Hope-Bell played major roles in the dramatic closing win over Worcestershire, with Pontarddulais product Edwards marking his potential by taking three wickets after being thrust into the squad because of injuries.

“Of the younger lads, Jack Hope-Bell has been impressive throughout the tournament and showed again [against Worcestershire] he’s got a future here,” said Harrison.

“Callum Nicholls has had a couple of scores and to get 70 in a chase was really good. There’s a lot of experience for some of the younger players and it’s shown we’ve got a bright future ahead.”

Glamorgan are far from unique in blooding youngsters in the One Day Cup while some of their star names are away at the Hundred franchise tournament, but the perennial ambition to have a Welsh core to the team looks closer to fulfilment than has been the case since the noughties.

As well as those used, 18-year-old seam bowler Tom Norton – a breakout star of recent Championship games – missed the competition because of a back problem which will probably keep him out for the season, while batter Jacob Blades recently played for England under-19s at the age of 17.

“You’ve always got to plan for the future and this competition gave us that opportunity to develop a few of our players, playing against Ben Stokes for Durham is a great experience when they’ve watched him on TV playing for England.”

Captain Andy Gorvin, the oldest player at 29 for several matches, was compared to a school-teacher in charge of the youngsters by one opposition commentator.

“My family did tell me about that! I try to help in whatever way I can and when it doesn’t go right, it’s how to keep the guys going,” said Gorvin.

“The most important thing about sport is having the resilience to come back the next day. They’ve always tried to improve, it’s a three-week block with eight games so you improve on the job and I’ve tried to guide as well as I can, and I’ve got to improve as well.”

In this week’s episode of The Envelope podcast, “The Pitt’s” Noah Wyle reflects on 25 Emmy nominations for the series, responds to criticism of casting decisions, and previews Season 3 of the HBO Max medical drama, now in production.

Kelvin Washington: Hello, and welcome back to The Envelope. It’s been a little while. Kelvin Washington alongside Yvonne Villarreal. We also have Mark Olsen. Good to see you. This is one of my favorite things, because I learn so much from you two. And by the way, I got a big shout-out from somebody at the other job that I do —

Yvonne Villarreal: You have another job?

Washington: Which one do you want to talk about? I have 17 of them. But she was saying how she was listening to something and then she said, “I want to hear more about it.” So she Googled, we came up and she was blown away to see it, and we did such great jobs. So she’s a big fan of you two. Shout out to Larissa if she watches again. But let’s get into, of course, Emmy nominations. You have surprises, you have ones you kind of expected, snubs, the whole nine. Let’s start with you, Yvonne. Anything jump out?

Villarreal: Leading the pack was “The Pitt,” which I think everyone expected, and coming in close second was “Hacks.” But I think the third most-nominated show that was thrilling to see have a big showing was “Widow’s Bay.” It was this latecomer to the race, and it’s just this show that has taken people by storm. The word of mouth has really grown. And I know, Mark, you got Matthew [Rhys] in an upcoming episode here. It’s just nice to see how that show’s performed.

I was a little bummed that we didn’t get a [big] showing of “The Comeback,” the third season. That was maybe my snub mark.

Mark Olsen: Not that it’s a causal thing, but I was excited to see a guest from the [podcast], Riz Ahmed, was nominated for the show “Bait,” [which is] kind of like a meta-psycho-emotional biography of an actor caught in conflict between his community and his career. And then also, I have to say, Meg Stalter from “Hacks,” I thought was exciting. For no other reason than to have her on that red carpet, to maybe get a little time on the telecast and the chaos that that just promises.

Villarreal: I want to know who she’s going to come dressed as. She always stuns on the red carpet with who she is sort of making fun of.

Washington: You need a little bit of that, a little chaos. That’s what makes those things interesting. For me, I was just thinking about, again, how we’ve had so many folks who were known for films now all of a sudden becoming television stars. Seems a little weird to say it, but Jason Bateman being one of them, nominated for a couple of shows. So it’s just been incredible to see some people’s transition into that, where 15, 20 years ago, it‘d almost be the downfall of your career to do so much TV. Now it’s a cool addition to your career. Let’s get into it. You mentioned “The Pitt,” Yvonne. And Noah Wyle, you had a chance to have a chat with him. Tell me a little bit more about it.

Villarreal: They got the big news about their 25 nominations while on set. They’re in production on Season 3. And when we caught up with Noah, he had just wrapped filming the episode that he wrote and directed this season, Episode 3. And it was really fun to catch up with him, especially considering how much he’s shouldered in portraying Dr. Michael Rabinovitch, a.k.a. Dr. Robby. You know, this is a character that’s had a really deep mental health journey the past two seasons. Season 2 picked up with him on the eve of a three-month sabbatical, and we think he’s finally going to get this break that he needs to deal with some of the things he’s been going through. But as the season progresses, we see him really confronting just how much of a mental breakdown he’s at right now. And we talked about that. He shared a lot about what’s coming up in Season 3. And we also get into some of the advocacy efforts he’s been involved with.

Washington: You know what I find interesting about that is, when you look at the folks from “Law & Order: SVU” and some other shows, [they’re] just a character, but all of a sudden folks really look at you as this advocate and they’ve turned around and become very passionate about those things, and I can see how that would be the case [here] as well. All right, let’s get into it. Yvonne and Noah, here’s their conversation.

Wyle on the Warner Bros. lot in Burbank in June.

(Christina House / Los Angeles Times)

Yvonne Villarreal: Noah, thanks so much for taking the time. We’re on the Warner Bros. lot inside an office space because you are deep in the throes of production on Season 3 while navigating the awards circuit. Tell me what that’s like. What is your headspace right now? Have you learned anything from last year?

Noah Wyle: It feels like we’ve just come back, even though today we started shooting Episode 4 already, which is amazing that we’re almost a third of the way through the season. It feels really good to be back. It’s odd that this is Season 3. It still feels like a new show. Everybody’s still energetic and excited to be there. The awards stuff hasn’t really kicked into overdrive yet, so it hasn’t been too much of a distraction. It’s just been really exciting, especially for our cast and crew who are so well represented in the nominations.

Villarreal: It was really staggering. Is there a moment from the last award season that stands out? An interaction or an experience going through that?

Wyle: The first one that comes to mind was an impromptu meeting I had with Stephen Graham after the Emmys where we bumped into each other on the street and he said some lovely things to me, and I said some lovely things to him. It was the first time I’d ever met him, then Keith David walked by, who was an old friend. It was a very collegiate moment. That was the time I actually took a breath that night and was like, “Hey, look at this — oh, my God, look at all of this.”

Villarreal: Where are the trophies?

Wyle: They’re on the mantle at the moment, at home.

Villarreal: Next to the Golden Globe made by your daughter?

Wyle: Yep, it’s right there in the center.

Villarreal: I want to review the show’s chart. “The Pitt” leads this year’s Emmy nominees with 25 nominations overall. You are nominated in the lead actor category, as well as directing. Do you feel like you’re better equipped or prepared to deal with the spotlight and attention that the show’s receiving now versus when you were doing “ER” at the height of its moment?

Wyle: Oh, I thought you were going to compare it to last year. Comparing it to 30 years ago, yes, I’m way better equipped.

Villarreal: Tell me.

Wyle: Just older, wiser. You’ve been to the dance before, know it for what it is. There’s nothing that’s going to be shocking about the process. Also, I have enough life perspective to just be extremely grateful and present for it and just be really excited about it.

Villarreal: How aware are you that the spotlight is on you? What does that feel like?

Wyle: I’m not that aware of it because I feel mostly cloistered once we start production on Soundstages 21 and 22. Occasionally the tours go by and I see [people] get all excited. But for the most part, I live a pretty hermetic life when we’re working. So except for when I Instagram scroll or one of my kids brings me news from out there, I don’t really get out much.

Villarreal: Your mom is a nurse. What does she think of this moment? Does it feel any different than during your “ER” days?

Wyle: Yes. I think back then it was just a novelty that she was working in a hospital and her son was on this extraordinarily popular medical drama at the same time. Now we’ve had an opportunity, especially the last couple years, through the [medical apparel] company Figs, to go to Washington and do some lobbying together, which allows her career, my career, to sort of work hand in hand. And for me to have a different perspective on who she was as a woman while she was a nurse working, because I only really saw her as Mom through those years. To answer your question, how was her perspective different? I think she’s, dare I say it, maybe a little more proud of me than she used to be. She’s said as much. I think in the old days she was proud of me being successful in having my dream of becoming an actor come true. Now she’s proud of me because she feels that I’ve used that platform to do some humanitarian good works outside of personal aggrandizement.

Villarreal: How many times is she visiting the set?

Wyle: Oh, I don’t let anybody visit this. By design, we keep a very closed set. In fact, if you come as a visitor, you have to put on scrubs so you fit in — and you feel really uncomfortable and you can’t wait to leave. That’s how we roll.

Villarreal: I want to dig into Season 2. When we pick up with Robby, it’s the eve of his three-month sabbatical, and we think maybe it’s this much-needed break. But as hour by hour goes by, it becomes clear that he’s maybe viewing this as a death sentence. What intrigued you, what worried you, about what he was facing in Season 2?

Wyle: Once we decided that we wanted to put, at the center of this medical drama that was an exposé and sharp look at the medical world, in 2026, a mental health journey of one particular person and have as part of that mental health journey be suicidal ideation, which speaks to a lot of the prevalence of that in this profession, once we committed to that idea, it was really exciting to walk it through. And to play the first half of the season as a guy going on vacation to get his head clear and play the second half of a season as a man buttoning up every aspect of his life in the event that this was a one-way trip. And leaving that almost to the Fates to decide as the day unfolded, looking for signs and signals to determine which way that should go. And increasingly as the day goes on, to be met with both the increasing desire to make it a one-way trip and the community that desperately don’t want him to, and ultimately keep him on this side of that edge.

Villarreal: You wrote two episodes in Season 2, and in “8 p.m.” we really see Robby’s mental health journey come to a head. What was that like, to put dialogue to what he was feeling internally, for you as the actor playing him?

Wyle: That particular dialogue was gifted to me by a doctor who shared with me that that was exactly what he said to his wife one morning when he was going through something very similar. And the way that it resonated with me when he said it, the way it went straight to my heart, I knew if I spoke it as simply, it would speak to other people. And rather profoundly, I got a letter by a young man who said that exact dialogue was so reminiscent of what was going inside his own head that it kept him from harming himself and was the catalyst for having him reach out to get help. Because it was so truthful, because it came from such a truthful place, it had a multiplier effect when we put it on TV. So to get to voice it to the world, that was extremely significant to me. It was the masks just really starting to fall to the point where you can no longer keep it in. And the Duke character [played by guest actor nominee Jeff Kober] is the only person who he felt he could share it with, because it’s enough objectivity, away from the hospital, without any kind of preconceived history. And it’s obviously somebody who’s been down a very bumpy road himself and won’t judge the decision one way or the other. He’ll just sit there, almost Buddha-like, and absorb it.

Villarreal: I know during the pandemic — this was sort of what was the impetus for the show — you were getting a lot of messages during that time, people messaging you about “ER” and what that did for them. How do you shoulder those types of interactions?

Wyle: That one made me cry. My hands started shaking. … You always want your work to have impact, you want it to have meaning, you want people to glean something from it that’s relevant to their own lives. And I’ve been very fortunate in my career. I remember back in the “ER” days, when Carter got sober, people would write me and say, “You helped me deal with my drug addiction.” When I was on “Falling Skies” and played the grievous loss of a spouse, people reached out to me. I’ve been a lightning rod for pain a couple of times in my career. And you asked me, how do I shoulder it? I think I sort of see it as a gift. When you have that connection to somebody, when they respond that way, it’s the ultimate compliment. And you’ve built a bridge where there didn’t exist one before. It’s even better if you build them between two strangers that don’t know each other, that now have commonality that has nothing to do with you.

Villarreal: Not to compare the two professions, but does it make you see the work you do as an actor a form of public service? We see how, when people are at their lowest moments in the hospital, they’re watching TV, they’re connecting with characters, with their family members, in these rooms. And then also what you just described, the interactions that you’ve had with these people [who were] inspired to become healthcare workers, shows you how they connect with the characters.

Wyle: As you’re saying that, that’s what birthed “The Pitt.” I was getting letters from people telling me that my work had meaning to them at the very moment when I didn’t feel like my work had meaning at all, because it had no relevance, because we were in the middle of a pandemic. Who wants to see a guy jump around in a costume while people are out there really being sick? And suddenly, I felt like I didn’t have a skill that actually could hurt or help anybody. It was only sort of a frivolous skill. Then those letters turned into the DNA that the show became.

Villarreal: Seeing what Robby is facing, how do you establish boundaries for yourself in terms of taking it in — dealing with the burnout, and overwhelming emotion of it?

Wyle: It’s a process. I am engaged in several modes of therapy to offload this and be able to surf it from both an artistic curiosity perspective and a need for balance. It’s interesting work, this work, and I do it with the full support of a loving wife and family who understand that this is different than what most people do for a living.

Villarreal: You seem to be giving yourself a lot of work these days in addition to acting in this hit show. As the No. 1, you’re writing and your directing. Do you like stress, Noah?

Wyle: I know it sounds odd, but my brain works really fast and it works nonstop. I don’t know what to do with myself most of the time. But when I’m engaged in [creative work], especially directing, it is a full-course meal for me. I feel totally alive and in my happy place. This last week, getting to direct a piece that I wrote, was even more fun because I’d pictured it already in my mind when I was writing it, which is a form of prep. But then you get to give it to everybody else to see what they want to do with it and what you’re creating communally suddenly becomes the third version of it, which I think is really great.

Villarreal: We like a tease here. Is there a note from this recent episode that you wrote and directed that was interesting to give that won’t make sense to us until we watch it?

Wyle: A directorial note? More glitter!

Villarreal: The episode you directed in Season 2, you had the interesting job of dealing with vomit.

Wyle: Yes. Vomit is hard. We’ve been making movies for a long time and we still haven’t come up with a decent vomit rig. I’m not selling Rob Nary, our special effects supervisor, down the drain here with this comment, but it is really hard to come up with a piece that doesn’t look like it’s on the side of a guy’s mouth when he’s throwing up. And you can put stuff in a guy’s mouth and have him spit it out, but to really get a good projectile vomit, you need to have some sort of cannon apparatus. And it has to come from a place that looks localized to the mouth, and it has to be the same diameter of the actor’s mouth. We went through, I don’t know, five designs on that thing and still ended up with something I thought was passable but not impressive — not “Pitt”- level impressive.

Villarreal: Interesting. Do you feel like you’ve upped the ante —

Wyle: I feel like I’ve put a challenge out there to somebody to come up with a decent vomit [effect]. It’s not as easy as it sounds.

Villarreal: It was also the episode where we get the passing of Louie [guest actor nominee Ernest Harden Jr.], and it was such a heartfelt moment and a reminder of the people that are there day-to-day or frequently, and the humanity that you still want to show them.

Wyle: Valerie Chu wrote a hell of a script. Valerie is a wonderful writer, and that episode just dramaturgically was a little different than the other ones because it did put more of an emphasis on the nursing staff than it did the doctors. Usually, we walk into a room and walk out of a room with a doctor. This time, we walked into rooms and out of rooms with the nurses, and we really tried to highlight the whole range of services that nurses give — pushing medications, double-checking doctor’s orders, holding hands, bringing blankets, wiping asses; all of the dirty work that goes into palliative care and treatment. That was the thesis. How do we exemplify those actions? Then, of course, at the center of it was Louie’s passing and the conferring of dignity to somebody after they’ve died was the theme I wanted to focus on. In the beginning, he’s a bloody mess, almost unrecognizable, and certainly not dignified. Then, through the cleaning and the preparation and then eventually the service — that’s on a clock because we’ve got other Louies to treat — we confer him his dignity. We fill in the backstory of his narrative. We give context to his life and honor the man. That was the lens progression we were going for and heart progression we were looking for.

Villarreal: What did it say to you that Robby committed those life details to memory from those interactions?

Wyle: To me, that is what you carry with you. It’s odd, the things you remember about somebody. It’s odd, the things that land with you. Usually, they resonate with something that you’re vulnerable to or have experienced. But with Robby, who never had a family and always seemingly wanted one but never allowed himself, the idea of somebody who had one and lost one is particularly profound. And as we get into subsequent episodes that we’re dealing with now, we see that Robby’s sense of loss predates Louie and his mentor, Adamson, and it goes back to almost an original sin.

Villarreal: A lot of people wanted you to take home Baby Jane Doe to heal and deal with some of your stuff.

Wyle: I don’t think you should throw a drowning man a baby. It doesn’t seem like a good, logical thing to do for either one of them. I think Robby went home and wished that he had the capacity to be someone who could have taken that baby home for a little while. And that was probably one of the things that nagged at him along that trip. If you wish you were better, then why wouldn’t you come back and try? And as we watch him begin to try to evolve and work through some of the things that have been stumbling blocks for him in becoming a fully evolved human, that’ll be one of them, hopefully.

Villarreal: I want to return to an earlier point, which is, you’ve done a lot of advocacy work. Even before “The Pitt,” you were arrested in 2012 in Washington, D.C., alongside 100 activists from the disability rights group ADAPT during a demonstration urging Congress not to cut Medicaid. Recently, you joined healthcare workers along with your mom at a rally on Capitol Hill. You also spoke at a congressional hearing focused on declining entertainment jobs in L.A. and the push for federal production tax incentives. How has using this spotlight and your voice for causes that are important to you deepened your experience with “The Pitt”?

Wyle: Well, that’s a very apropos question because I wrote into Episode 3 [of Season 3] a character based on a guy I was with when I was arrested with back then. A really wonderful guy, sort of a self-advocate and kind of a grump, total badass activist who has muscular dystrophy and has a tracheotomy. And so I thought, why don’t we put that character on the show and put him as a patient? And then I thought, “Well, who the hell is going to play that guy?” I called this guy and said, “Hey, I got a part for you, man. I need you to do it for me.” And we flew him out with his aide. And he came in, shot two days last week. He was phenomenal. The representation that we are going to give people in that community is going to be unprecedented, but it comes from a 30-year friendship I’ve had with this guy from some of the wars we fought together through the years, so it all dovetails together. I’m using one to feed the other at the moment and seeing where it’s applicable and where I think it could do the most good.

It’s just an amazing confluence of events. I’m an Angeleno who thinks there should be work here. I have an opportunity to bring a show here and employ 300 people nine months a year and be an advocate for other shows to follow a similar economic model to try and take full advantage of the generational talent that’s here. That’s just an alignment of my values and opportunities that seems almost blessed at the moment, but it’s not effortful. When you read it like that, it makes it sound like Mr. Smith.

Villarreal: Well, so many choose not to put their voice out there in those ways, but you’ve decided to do it

Wyle: I’ll speak up for my city.

Villarreal: What’s so great about a show like “The Pitt” is we get to watch regular, decent people doing competent work. Some call it competency porn. What do you think is our attraction to that?

Wyle: I think it’s twofold. I think on one hand, it’s wish fulfillment. You want to believe that there’s really competent, smart people in those jobs, so that, God forbid, if anything happens to you, that’s what you’re gonna encounter. And then I just read an article, I forget who wrote it, I wish I could cite it, that talked about this other aspect of watching people do work that has meaning, that actually makes a difference, touches a vacuum that we feel we don’t have in our lives and it’s a different kind of wish fulfillment. It’s almost like, “I want to be doing something more with my life that has absolute physical and tangible connection to another human being that makes a difference, that has a net positive.” And I think that’s interesting.

Villarreal: Sort of what you were feeling during the pandemic.

Wyle: It’s exactly what I was feeling during the pandemic: “How can I make more of this time on Earth and serve more than myself?”

Villarreal: I want to talk about “The Pitt” fandom because they are passionate and vocal. Has anything surprised you about their response to the show?

Wyle: Only everything. The embracement, the passion, the creativity, the advocacy, the identification, the continued support. It’s really been incredibly gratifying. It’s exactly what you hope, you know, that your work will do, spark a conversation and maybe a bit of change. But you certainly, you never anticipate reaching the levels that this one has where people are just gaga for it.

Villarreal: Recent cast departures have obviously drawn some criticism. As the No. 1 on the show and an executive producer, how do you navigate fan response when it’s negative? What are you learning about how to take that in?

Wyle: It’s nuanced. It’s new for me, new for all of us in a way. You try to put it in perspective, and it’s relatively small in relation to the overall [response], in terms of the more vocal critics. But at the same time, this is who’s watching. This is why you’re telling a story. If it’s touching a nerve that’s unintended, address it. Figure out a way to do it more sensitively, to come at it from a different point of view. We’re certainly doing the best that we can in there, but it’s impossible to anticipate what’s going to resonate and why. And I can’t tell you how many times I was surprised at what people thought was funny or what people thought was horrific or offensive. And it’s an interesting barometer of where we are as a country. It’s an interesting cross section of where the population’s at. But in terms of how it affects the creative work, it becomes a slippery slope if that’s the tail that wags the dog. So every year, we come in and we sort of have to gut-check ourselves and do a postmortem on the season. What worked well, what didn’t work well. And what is going to be part of this narrative as we go forward? Cast changes are gonna be part of that. That’s inevitable.

Villarreal: How about in relation to your character? Some of the discussion about what’s playing out onscreen, it’s been interesting to see how people look at Robby and maybe some of his flaws that come out. What do you see as his blind spot?

Wyle: Well, can we start with [we’re] watching a guy who’s going to kill himself? The guy is going to kill himself today, most likely. He’s going to leave and not come back. And as that reality gets increasingly clear to him, he acts continually beneath his grace. He doesn’t necessarily want people to miss him. He doesn’t necessarily want [them] to overidealize him because he doesn’t want them to mythologize him. So some people he was really tender with, and some people he was really harsh with, and some he will carry regret with, and some he probably wishes he had gone further. But all of that pathology was on display as a cry for help for anybody that was really looking to see it, more than I felt it was indicative of how he felt in a normal frame of mind in those relationships. I think he pushed Abbot [Shawn Hatosy] so far away. He pushed Dana [Katherine LaNasa] so far away. He was overly harsh with Mohan [Supriya Ganesh]. He was almost paternal with Javadi [Shabana Azeez]. He had a different vibe and energy with everybody. But ultimately, it was to sort of say goodbye in a way that he felt would be most appropriate. And I’m glad people felt that it wasn’t appropriate, because it was a man setting fire.

I did say in casting, I was like, “Can we cast some guys that are like my size that I could yell at that so people feel like it’s a good, fair fight?”

Villarreal: And you were vetoed?

Wyle: No, no, we’re going to sort of figure that out because it’s nice to show volatility in character, but if it’s a character that’s surrounded by women, it’s very difficult thing to depict without it seeming disproportionate in power. So it’s something I was conscious of when I came back this year. I was like, “It‘s difficult to show this character’s rage when it would be super inappropriate to express it with every single person in this room.” So, bring somebody in that can handle it and match it a little bit. And for my money, that’s what Al-Hashimi [Sepideh Moafi] was. She gave as good as she got, and those scenes between us were terrific.

Villarreal: Season 3 will be taking place on Nov.r 12, 2026, right? A lot of that had to do with the anticipation of and preparation for the ramifications of the Big Beautiful Bill on people’s lives. Tell me about that.

Wyle: It’s Thursday, November 12th, which means that tomorrow is Friday the 13th. And there was something fun about playing with the eve of a day that is usually fraught with peril. But this day is fraught with peril for all sorts of reasons. And it isn’t Friday the 13th. It also is coming into the holidays and it’s getting colder. A lot of the social issues that Pittsburgh and a lot [of places] with colder climates deal with are going to come up. People are turning on their heaters for the first time, if they can afford to turn on their heaters; people that don’t have access to housing are gonna be feeling the pinch even more than that. All of that goes into our narrative. And then, as I think you were alluding to, this is in preparation for what’s gonna take place in January [2027] with [provisions of] the Big Beautiful Bill [going into effect], which is gonna throw a lot of people off the rolls in a lot of states and cause a whole ripple effect through the healthcare industry. In anticipation of that happening, people are gonna have to make some very hard choices. They’re going to probably want to hoard medication if they can. They’re gonna try and load up on as many treatments as possible, put as many things into place as they can for that eventuality. And we wanted to highlight what some of those struggles are gonna be because I don’t know that they’re gonna be reported in January.

Villarreal: How fast, when that decision came through, were you getting outreach from healthcare professionals wanting to meet with you, with the writers room, about how can they can help you think about what’s going to happen?

Wyle: We have a great organization that’s an adjunct to the Norman Lear Foundation called Hollywood Health. And they broker all sorts of meetings for us in the writers room with experts from every aspect of the healthcare spectrum you can imagine. And so we really were curious to find out from those experts what the statistics were going to be. And they run models on best-case scenario to worst-case scenario and tell us pretty much with a high degree of certainty what the bandwidth is gonna be. And then we take that data and try to figure out the storyline that would be most effective to tell it. But it starts with trying to get it as accurate as possible in our crystal ball, looking forward to where we’re gonna be.

Villarreal: If you could give one word to Dr. Robby’s mental state in Season 3, what would that word be? Or what would the song he’d be listening to at that moment, walking back into work?

Wyle: I don’t want to tip the bit on a song that we might use and the ones that are in my head are so corny and cheesy that I don’t want anybody to suddenly start cutting memes to it. [Looks at camera.] Because you know you will.

Villarreal: Come on, Noah. Give us a ’90s throwback.

Wyle: “Scar Tissue” [by the Red Hot Chili Peppers].

Villarreal: Oh, that’s a good one. OK, before I let you go, is there any PSA you want to give folks right now about whether they should be consuming lettuce? Is Dr. Robby consuming lettuce?

Wyle: Oh, my God, don’t ask me. My wife and I have huge fights about produce every night. I don’t know what the hell’s going on.

Villarreal: I’m always like: What would Dr. Robby do?

Wyle: I don’t know that Dr. Robby eats a lot of vegetables. I think all of your canned vegetables are safe, says Dr. Robby.

Gillian Anderson was once a young person experimenting.

“I don’t even know if I was questioning my sexuality but there were a couple of moments during my teen years where I was with women,” Anderson tells me candidly on a recent afternoon at a Beverly Hills hotel. “I haven’t really spoken about that very much.”

Though she won’t go into details about those early interactions, she remembers the isolation that plagued her. “In interviews, I’ve alluded to a relationship that I had later in my post-college life, but not about that particular time and how not even confused, but just alone I felt and how different I felt to the rest of the kids in my high school,” she adds.

For some time now, the once and forever “X-Files” star has leaned into episodic television (Netflix, she says, has become a great partner). She earned her second Emmy in 2021 for her blistering turn as polarizing British Prime Minister Margaret Thatcher in “The Crown.” Yet a major shade of her public persona has become her activism around sex positivity, encouraging women to open up about their needs and wants, both in the bedroom and as individuals in every aspect of their lives.

“It seems to still be an important topic for women to hear other women speak about,” she says. “I have come to love talking about it in the context of women’s empowerment, finding ways to embrace their own integral agency.”

Clad in a sleeveless bright green dress, Anderson, 57, radiates an ageless grace, undeniably sophisticated yet unpretentious in her demeanor. Her hair in a braid evokes the look of a figure from ancient Rome. When speaking in her unmistakable throaty voice, her expressive body language (hand movements often complement her sentences) reveals her assertiveness. That confidence makes it difficult to imagine she ever was a fragile teen.

Hannah Einbinder and Gillian Anderson in the movie “Teenage Sex and Death at Camp Miasma.”

(Mubi)

In Anderson’s latest movie, the horror-tinged, dreamlike “Teenage Sex and Death at Camp Miasma” (in theaters Friday), Anderson plays Billy Presley, a reclusive former scream queen who was one of those “final girls” from a popular 1980s slasher horror franchise in which the killer was aptly called Little Death (a nickname for an orgasm, derived from a French phrase). Now Billy spends her days alone living in the woodsy location where her breakout movie was filmed long ago.

That is until auspicious indie filmmaker Kris (“Hacks” star Hannah Einbinder) comes to visit Billy with the intention of persuading her to act in a reboot. The two develop a friendship that empowers Kris to dive into her unspoken sexual yearnings — desires drenched in fear, violence and curiosity — with Billy as her mentor and, eventually, patient lover.

On top of her ability with accents (she does a Southern one here), Anderson physically commands the screen from the moment she makes an entrance worthy of a timeless diva. Her regal aura contrasts with the grotesque sensuality of a scene where fried chicken and dipping sauces take on an almost pornographic lure. Her Billy, a woman who can fluctuate between a loud cackle and an introspective speech about the lust-inducing “flesh and fluids” of horror movies, feels equal parts otherworldly and tethered to earthly urges.

“I knew on a deep level that I wanted to be a part of it, but it’s only in retrospect that I completely understand why it was so meaningful to me,” Anderson says. “It feels like such a salve for so many.”

“She put everyone at ease during those moments in a really beautiful way,” says director Jane Schoenbrun of Anderson’s work with Einbinder on their most daring scenes. “She is so physically tapped into her own abilities.”

(Mubi)

Einbinder, with whom Anderson shares scenes of blood-soaked eroticism, describes the veteran star as meticulous and diligent while also having a “lot of access to spontaneity.”

“I was a fan of her from, of course, ‘The X Files’ and a lot of her other work, so she just held this significance to me as an artist,” Einbinder tells me over the phone, “but meeting her, my expectations were surpassed because she’s really cool.”

“I didn’t want Billy to come across as a predator,” Anderson says. “I didn’t want her to be creepy or too maternal and so there were moments where she shows care, and it was a really fine line of how to play those beats. Even our first kiss and our sex scenes were very specific so that it didn’t feel not OK to be witnessing or representing.”

To Jane Schoenbrun, the movie’s writer and director, Anderson has the “elegance of old Hollywood, a classic mystique.” The filmmaker describes meeting her as a “strange coming home feeling,” since her “X-Files” character Scully held a special place in Schoenbrun’s formative years. “I spent as much time with her as I did with my siblings,” they add.

Schoenbrun credits Anderson as a “calming and nurturing presence” during the sex scenes between her and Einbinder — the first sex scenes the filmmaker had ever directed.

“Gillian had such an elegant, serious, professional but also caring perspective on how to talk about it and how to guide through it in a way that felt like it was going to be very present and alive on screen,” Schoenbrun recalls. “She put everyone at ease during those moments in a really beautiful way. She is so physically tapped into her own abilities.”

Anderson, seated with director Schoenbrun on the set of “Teenage Sex and Death at Camp Miasma.”

(David Astorga / Mubi)

Anderson found her way into playing Billy through the character’s distinct accent. Having played the tragically romantic Blanche DuBois from “A Streetcar Named Desire” on stage in the past, she aimed for a different version of Southern. “What I liked about it was this particular pitch that holds strength and vulnerability in it, which I think is very much where Billy lives at all times, from minute to minute,” she says.

Other recent TV roles have steered Anderson in the direction of an unabashedly queer storyteller like Schoenbrun. Jean Milburn, Anderson’s humorously matter-of-fact sex therapist from the series “Sex Education,” represented a watershed beginning in 2019.

It was because of the success of that show that she was approached to write “Want,” a 2024 book that collected the sexual fantasies of anonymous women (a follow-up, “More,” is out in September from Abrams Press).

“Sex Education” also inspired Anderson to launch her own brand of soft drinks cheekily called G Spot (they are caffeine-free and infused with vitamins and minerals). Some retailers, she says, have refused to use the drink’s name. “We’ve had so much pushback on the name and I refuse to be cowed, to be shut down, to be told that it’s a dirty word or that it shouldn’t be in public spaces,” she says.

“The strange thing is I don’t identify with Scully in the same way I do with other characters that I played for much less time,” Anderson says. “Part of that is because of how square she was. I have such an intrinsically rebellious nature.”

(Ian Spanier / For The Times)

For Anderson, humor is an important component of the conversations she wants people to have about sex and sexuality. During her time on “Sex Education,” she started posting pictures on Instagram of props on set that resembled both male and female genitalia. Some of her posts kept getting blocked.

“There were all these amazing things, from chess pieces that were phallic to a soap holder that was a yoni,” she says, smiling. “We started to call them ‘penis or yoni of the day.’ Then fans started posting back to me pictures of penises or yonis of the day they would see in nature.”

Anderson doesn’t quite understand the swath of Gen Zers who deride sex in movies and is, in general, uncomfortable with the subject of physical connection.

“For my younger kids, who are late-teens, the thought of picking up a phone to [call] somebody that they’re interested in feels so intimate,” Anderson says. “If a phone call is intimate and your conversations on a regular basis are snapshots of your face making funny images, then the idea of going into deep intimacy must be absolutely terrifying.”

She’s hopeful that young people might start to turn toward in-person activities to bond. But while the subjects of pleasure and open-mindedness captivate her, on screen Anderson is not letting the industry pigeonhole her.

Anderson’s recent output includes playing a shadowy operative with icy conviction in the thriller “Animals” opposite Ben Affleck, and a Nazi guard in the limited series “The Boys From Brazil,” both coming to Netflix in the near future. And in last year’s “Trespasses,” another TV show, she became a Northern Irish alcoholic mother. “I wouldn’t have guessed that at my age I would be having so many different and varied opportunities,” Anderson says.

In the aftermath of her time on “The X Files,” Anderson moved to London, both because she longed for the city where she partially grew up and for a chance at reinventing herself professionally.

“I’d never had my own publicist before that,” she says. “Had I had one, they probably would’ve tried to convince me that moving to London was the worst thing I could do for my career.”

For a long time, Anderson’s relationship with Dana Scully was complicated. “I felt like everything that I did was in an effort to get away from Scully,” Anderson admits. “Then when people would bring it up or I would do a 45-minute interview and they would ask one question about ‘The X-Files,’ they would use my refusing to talk about it as an excuse to make it the headline.”

It made it challenging for her to be considered for film roles and even for TV projects of a different vein.

“Now you have A-list actors, the Nicole Kidmans, moving between TV and film,” she says, “but back during ‘The X-Files,’ if you were on telly, it was the B, if not C version of what an actor’s life could be.”

In England, though, the likes of Judi Dench, Maggie Smith or Glenda Jackson had always navigated effortlessly between the big and small screen and the stage. “That’s the life that I wanted,” Anderson adds. “The minute I moved there, the quality of the stuff and also the range of characters that I was being offered was so different from what I’d been doing for almost 10 years as Scully.”

“The House of Mirth,” Terence Davies’ 2000 period drama based on the satirical 1905 novel by Edith Wharton, represented a breakthrough. “At the very beginning, I remember I was so surprised that there were other people who thought that I might be able to do something else other than Scully.” (When I tell her how extraordinary she is in “Mirth” as a socialite caught between stability and something more passionate, Anderson replies with a bashful, whispered “Thank you.”)

And while she can now think of “The X Files” as the “blessing” that it signified in her career, Anderson is clear that she has more often seen herself reflected in other women she’s inhabited, such as Blanche or Stella Gibson, the detective she played in the series “The Fall” starting in 2013.

“The strange thing is I don’t identify with Scully in the same way I do with other characters that I played for much less time,” Anderson confesses. “Part of that is because of how square she was. I have such an intrinsically rebellious nature. I can, obviously, play square, but I think because of that, she didn’t necessarily get her hooks inside me in the way that some of these other characters that really push against the establishment did.”

Anderson is not entirely opposed to appearing on Ryan Coogler’s just-announced “X-Files” reboot, but she is far more excited about several sci-fi projects she is currently developing (one of them she describes as “huge” in scale). They will bring her back to similar territory, but this time on her own terms.

“It’s the first time that I’m properly going into the genre and embracing it and instigating that work,” Anderson says. “I’m very excited about those but no doubt when it comes time to do press around them, there’s going to be a lot of ‘X Files’ talk, inevitably.”

She’ll be ready for it. At once pragmatic and playful, Anderson seems to be taking on the world these days like someone who’s unraveled a deeper mystery.

Iran says the Strait of Hormuz will remain restricted unless the US meets a series of demands. The UAE accuses Tehran of targeting an oil tanker, while Yemen’s Houthis claim an attack on a Saudi refinery. Al Jazeera’s Nour Hegazy reports.

More than 3 million Brits travel there every year

UK travellers should be prepared for the risk of strike action over the next few weeks in a popular holiday hotspot. Millions of UK holidaymakers will be travelling abroad in the weeks ahead.

And France is one spot that will be popular with Brits. More than 17 million UK people travel there every year, according to the UK Foreign Office.

Now the new threat of industrial action has broken out – and it runs throughout the remainder of the summer holiday period. EasyJet cabin crew in France could walk out in strike action expected to run until September 2. Flight attendants there have complained about rota arrangements and working conditions.

French media report that three unions representing cabin crew at EasyJet France have issued strike notice covering the period from 7 August to 2 September. They have complained of a “continuing deterioration” in working conditions, according to a joint statement released this week.

What should you do if your flight is cancelled? For those planning to travel with the airline in the coming weeks, passengers whose flights are disrupted by cancellations or delays will be given 48 hours’ notice. Simply head to the ‘Booking’ tab in the EasyJet app to access the relevant information.

Should your flight be cancelled, you can request either a refund or a ticket change directly from the airline. If the replacement departure is scheduled for the following day, EasyJet may foot the bill for a hotel and a taxi to the airport.

The airports facing strike action include Lyon, Nice, Paris Orly, Bordeaux and Paris Charles de Gaulle. A spokesperson for ⁠easyJet said the company was disappointed and had made an offer of changes to tackle their concerns. ⁠They said: “Given we have planned negotiations in September, we call on the unions to call off this ⁠counterproductive action at this important time of the year for our customers”.

French news site RTL reports that workers are denouncing what they describe as “a vicious circle that has been going on for a year now”, with the SNPNC-FO, UNAC-CFE-CGC and UNPNC-CFDT trade unions condemning “the chronic instability of timetables, last-minute changes, imposed ‘trippings’ (a series of flights over several days, ed.), particularly gruelling rotas and a total lack of protective measures”.

“The notice period has been deliberately left open to cover the entire period,” the trade unions stress, adding that “key dates” for industrial action will be confirmed “48 hours in advance”.

The unions have accused management, whom they claim to have been warning “for nearly a year”, of failing to provide “concrete and binding” solutions to their concerns. Luckily for travellers, a previous strike call at EasyJet on Easter Monday in April had only a minimal impact on air traffic.

Local media say that as France’s second-largest airline by passenger numbers after Air France, British carrier EasyJet predominantly operates short- and medium-haul routes. The airline employs several thousand staff in France, a considerable proportion of whom work as cabin crew.

Gaël Leloup, a union representative for the Union of Civil Aviation Cabin Crew (UNAC), told RTL that “scheduling instability” has gradually become “the company’s normal way of operating”: “It’s normal to change people’s schedules once, twice, three or four times in the same day. And dozens of times a month, too. You might be moved from morning to evening shifts, or sent to another base in Europe for three or four days.”

The union representatives say they are fully aware of the disruption this strike action will cause to passengers’ travel plans, with another hectic weekend of holiday traffic on the horizon. “The sad thing is that it’s our passengers who will bear the brunt of it,” laments Gaël Leloup.

But with talks between staff and management having ground to a halt, workers feel they have been left with little choice: “After a year of discussions and still no solution, we have no option but to take major industrial action.”

For its part, EasyJet’s management said this week it is urging trade unions to withdraw the strike notice. The trade unions say they remain “open to negotiation” to call off the strike notice, provided that management “puts forward clear, concrete and binding solutions”.

Umm al-Khair, Occupied West Bank — There were weddings in Umm al-Khair this week, but almost no one danced. The small Bedouin village, located in Masafer Yatta, was marrying off two of its sons. Cauldrons of slow-cooked lamb meat for mansaf – a large platter of traditional Arabic food – fed the whole community. But there was no dahiyya, the line dance and chant that normally opens a Bedouin wedding.

Residents said it did not feel right coming so soon after the first anniversary of the killing of Umm al-Khair activist and community leader Awdah Hathaleen, allegedly by Israeli settler Yinon Levi. The community continues to endure daily settler attacks, arrests and incursions by Israeli soldiers, and the threat of further demolitions by Israeli authorities looms.

During celebrations, families spread out in different areas rather than gathering in one place, wary of drawing any attention that, in the past, has brought soldiers to disrupt the celebrations.

“There is a wedding, but they are not letting us celebrate quietly,” said Tariq Hathaleen, an English teacher and community leader in Umm al-Khair.

On Thursday, the first day of the wedding, Shimon Atiya – the Israeli settler behind the illegal outpost of Havat Shorashim, established roughly 800 metres from the village in 2022, and who has been under a restraining order since July 2025 for harassing Umm al-Khair families — crashed the wedding in the only style he knows. He brought his livestock to graze in a resident’s vegetable garden, escorted by Israeli soldiers who stood by as it happened.

When villagers told the soldiers that the plot is recognised as Umm al-Khair land, they were told the maps had changed; when they asked to see the new maps, they were refused. That night, the outpost’s fence towards the village homes was torn down – a prelude to pushing the boundary further in, residents believe.

Hathaleen says the settlers’ timing was a reaction to Levi’s indictment days earlier — one of the few times an Israeli has been charged with the killing of a Palestinian in the occupied West Bank since October 2023.

Just a couple of days before, on Thursday, Hathaleen watched as buildings and vehicles in the nearby Palestinian community of Khirbet Tuba were set ablaze by settler arsonists.

“The occupation always tried very hard to erase the Palestinian Indigenous people and their history, their legacy, their heritage,” Tariq said. “This really reminds me of the Nakba, and how the Israelis destroyed Palestinian cities and villages”, he noted, even planting cactus over the ruins to bury the evidence. “Back then it wasn’t documented. Nowadays, it’s happening, but it is documented.”

Sunday marks the United Nations’ International Day of the World’s Indigenous Peoples. In Umm al-Khair, the wedding felt symbolic of the threats to Indigenous Palestinians’ way of life and their basic presence on their own land.

‘They try to imitate us’

According to local Palestinians and watchdog NGOs, the threats facing Palestinians in the occupied West Bank, including East Jerusalem, and the Gaza Strip include detentions, killings, demolitions, restrictions on movement and evictions.

Since October 2023, Israel has killed 1,100 Palestinians in the occupied West Bank, including 242 minors, according to the Israeli NGO B’Tselem. Israel has also demolished more than 3,000 Palestinian homes since October 2023, the vast majority due to a lack of Israeli-issued permits that Palestinians in Area C are routinely denied.

According to the latest figures from the UN’s Office for the Coordination of Humanitarian Affairs (OCHA), demolitions and settler violence displaced an average of 17 people a day this year, double the rate of the previous three years.

A June report by the West Bank Protection Consortium, which includes the Norwegian Refugee Council (NRC) and monitors more than 200 communities it judges at risk of forcible transfer, said 96 percent of those who had been forcibly displaced were previously dependent on farming or herding. They have mostly lost access to these lands or pastures.

However, residents and watchdogs say such dispossession takes place within a system of Israeli permits, demolition orders and land policies controlled by the state alongside hundreds of millions of dollars in public funding for settlements and outposts. Israeli NGO Peace Now counts 146 illegal Israeli settlements in the occupied West Bank and 390 unauthorised outposts and farms.

In 2024, the International Court of Justice found Israel’s continued presence in the occupied Palestinian territory unlawful.

Amid dispossession of their traditional grazing lands, 13 structures in Umm al-Khair were issued demolition notices last October, following demolitions in 2024 that left a third of the village homeless. The restraining order against Atiya, residents say, has done little to stop him.

Tariq argues the erasure is not only physical, but cultural also, and that it comes paired with an attempt by settlers to claim the very Palestinian identity they are displacing.

“The settlers nowadays try to imitate that lifestyle, building tents that they probably stole from Palestinians somewhere, using tractors to bring water from far away,” he said.

Young men from the hilltop outposts can be seen grazing camels, goats and sheep. All the while, Tariq observes them wearing Palestinian scarves and even attempting the Bedouin dialect when leading their own flocks.

“They know the Indigenous people of this land are the Bedouins and other Palestinians. So, they try to imitate that – to show to themselves and to the world that they are the Indigenous people of this land,” he added. “[But] this land doesn’t relate to them, because only the Indigenous people of this land know how to live in this land.”

‘We are the Indigenous people of this land’

Many outpost settlers serve as military reservists while living on the farms themselves, Tariq noted – a status that comes with state-issued weapons.

He recalled Finance Minister Bezalel Smotrich publicly distributing all-terrain vehicles to South Hebron Hills outpost settlers. He also remembers the day Awdah was killed, when soldiers let Levi point out five community members for arrest.

“This is not only settler terrorism backed up by the state,” Tariq said. “It is the state’s plan, carried out by the settlers, well planned in rooms where officials sit around a table and tell them what to do.”

Yair Dvir, spokesperson for B’Tselem, said: “Israel is carrying out ethnic cleansing in the West Bank and an all-out assault on the Palestinian people. We see it on many levels: military violence and repression, home demolitions, and the funding and backing of settler militias.”

Shaina Low, a spokesperson for the NRC, described the same pattern as a coordinated strategy across the Israeli-occupied territories.

“For nearly 80 years, we’ve seen Israeli efforts to drive Palestinians from their land play out, starting with the Nakba and continuing to the present day,” she said. Low cited an acceleration of these actions since October 2023, when the genocidal war on Gaza began, that has seen expanding settlement infrastructure, rising West Bank demolitions alongside East Jerusalem evictions in neighbourhoods like Silwan. There has been an “astronomical increase” in settler violence documented, Low added.

Gaza shows the same agenda but taken to the extreme. Since the October 2025 “ceasefire”, more than 1,200 people have been killed in Gaza, on top of a cumulative death toll that has climbed past 73,000 since October 2023, according to Gaza’s Ministry of Health.

According to UN satellite analysis, roughly 81 percent of all structures in Gaza have been damaged. Even with the “ceasefire”, OCHA reports that some 59 percent of Gaza’s population faced crisis-level food shortages or worse between April and June, a share it projects will rise again by year’s end as aid funding shrinks.

Following successive campaigns of expansionism, the Israeli military now controls at least 64.9 percent of Gaza. “These policies are all working together,” Low said. “They may be different tactics, but it’s all part of the same agenda to force Palestinians from their land and increase Israeli control over the territory and expand Israeli presence.”

Still, on the eve of a day meant to mark the world’s Indigenous peoples, Tariq was resolute.

“They will try a million ways to erase the Palestinian Indigenous people, but they will fail because this land doesn’t speak their language, it doesn’t carry their colour, it doesn’t go by their ideologies,” he said.

“This is our land, and we have always been living here in harmony – with nature, the desert, the mountains, the valleys of Palestine – because we are the Indigenous people of this land, and we always will be. Their attempts are failing, and will fail. One day, we will get our freedom.”

One of my favourite protest songs rings out every year on August 9, which is Women’s Day in South Africa. The song works as a call and response: one set of voices cries out, “You have struck a woman,” while another set responds, “so, you have struck a rock!”

The chant dates back to the historic protest that gave South Africa’s Women’s Day its date and meaning. In 1956, 20,000 women marched on the Union Buildings in Pretoria in opposition to “pass laws” that the apartheid regime was seeking to extend to African women. African men were already subject to the indignity of carrying passes, and with this latest move, thousands of domestic workers across the country immediately understood that they too would be subjected to random stops and searches by police. What little freedom of mobility they enjoyed would be snatched away.

Led by the multiracial Federation of South African Women (FEDSAW) and the Women’s League of the African National Congress (ANC), a group of politically engaged women organised a petition and a march to oppose the incoming laws.

After months of hard work, thousands of women, most of them Black, woke up at the crack of dawn and began to make their way to the Union Buildings, the seat of power of the Afrikaner government. By nine that morning, they had gathered in front of the office of the Minister for Native Affairs.

It was no accident that the rally took place on a Thursday, which was also known as “Sheila’s Day.” In the 1950s and 1960s, Sheila was a generic name used to describe Black women who were domestic workers; a casual way for white women employers to refer to the African women who worked in their homes without having to remember their actual individual names. Most madams gave their staff Thursdays off and so it came to be known as Sheila’s Day.

As a delegation handed over a petition, the women broke out in song, pointedly addressing then Prime Minister JG Strijdom and insisting, “Strijdom, you have struck the women, so you have struck a rock!”

I was a young feminist in the 1990s and I remember singing that song countless times at rallies, protesting gender-based violence and calling for treatment for pregnant women living with HIV and AIDS. I remember, too, the stories of older women who marched on August 9, who reminded younger activists that many of them had taken to the streets over the objections of their husbands and fellow male comrades. They explained that at the time they did not have the language to explain how race, class and gender intersected; they just knew how sexism felt in their bodies.

By the time we were marching for a new set of rights, they had gifted us the language and analysis to describe how race, class and gender shaped women’s experiences. Their stories also showed us that sexism did not sit neatly outside the struggle against apartheid: women could stand alongside men in a liberation movement while still having to fight for equality with those same men. This was one of the most important legacies of the women’s march in 1956.

The rally that day failed to stop the pass laws, but it had a far more significant impact on the South African political landscape, effectively launching the South African women’s movement. The momentum and defiance of that day gave women in subsequent generations a blueprint for activism and analysis.

When apartheid ended in 1994, many of the women who had been at the forefront of the march in 1956 were still active in politics. The movement they had helped build was such a powerful force in the transition to democracy that almost a third of the incoming parliament comprised women, making South Africa one of only a handful of countries with such strong women’s representation in politics.

Once they were in power, the daughters of 1956 pushed through numerous legal and policy changes on reproductive rights, customary law and marriage – and the rights of domestic workers.

As a result of their efforts, South Africa has some of the most progressive laws and policies promoting gender equity and equality in the world. More than 30 years after the end of apartheid, women still constitute about 45 percent of parliamentarians and 44 percent of ministers.

Yet these gains have not translated into safety. South Africa’s first national gender-based violence study found that 33.1 percent of women aged 18 and older had experienced physical violence in their lifetime, while one in five men surveyed admitted to perpetrating physical or sexual intimate partner violence. The persistence of such violence exposes the limits of formal equality: laws can change faster than the attitudes, relationships and behaviours that shape women’s lives.

The same gap between formal rights and lived reality is evident in economic life. The disconnect between the rights enjoyed by women in positions of power who have helped shape South Africa’s laws and the lives of women in the poor communities to which they are accountable is stark.

South African women living in poverty are besieged by high levels of unemployment, gender-based violence and poor access to health and education services, while middle-class women enjoy many of the privileges once reserved for whites only. This is because in the last 30 years the ANC-led government has done little to dismantle the underlying economic structures that upheld apartheid. Formal equality has not translated into material equality for millions of women.

It is hard to find hope for women in South Africa’s statistics. Indeed, many women I know don’t celebrate Women’s Day – they are weary. Yet the women’s movement that the march helped galvanise 70 years ago still has much to teach us.

The lesson we learn from the vibrant movement that was created that day is that gender equality cannot be driven by women’s demands alone. Real progress requires call and response. Women have been making the call for generations. It is time for men to respond.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

Dorsey High’s 1982 City Section football championship team walked onto the stage with a youthful swagger. Though it has been decades since they celebrated within the halls of the school, it was like they had never left that courtyard.

Alumni and family cheered and danced alongside them at Dorsey’s first full athletics reunion. Soon after, the cheerleaders for the 1976 championship basketball team came out to perform. The up and coming sports teams for the 2026-27 school year came out with their families, as hundreds of people celebrated the legacy and the future of the school.

But Dorsey has undergone a lot of changes since the turn of the century.

In 25 years, it has gone from a well-attended school with a successful athletics program to one that has faded into the background of Los Angeles.

The last football championship came in 2001. The next year, Dorsey enrolled 2,211 students, the most in school history, according to Public School Review. Now, enrollment is hitting a low with 792 students, according to US News, and the athletic teams are trying to find that powerhouse status again.

Enter former football head coach Paul Knox. He had a solution — or at least an idea. Bring together the athletics alumni of Dorsey for a day of celebration, with a look ahead to the future.

On Saturday, hundreds of current and former Dorsey Dons came to the school for the reunion. There were a lot of stories, old photos, laughter and love being passed around from people who haven’t touched the campus in four decades. Alumni from all the way back in the 1950s came. Knox gave tours of the renovations the school has undertaken, and the event also highlighted the soon-to-be football stadium and new basketball gym.

Later in the day, the current teams were introduced to everybody in attendance as was the 1976 City championship basketball team. The chance to showcase both the past and present is what inspired Knox, who hasn’t coached at Dorsey since 2014, to put on this event.

“The atmosphere that is here, the pride that everybody has in the school in general … it’s one of the most passionate alumni that you are going to have,” Knox said.

Dorsey’s enrollment struggles are not unique. Across California, public school enrollment is down. In the Los Angeles Unified School District, enrollment dropped over 16,000 in the past year. Private and charter schools are on the up in both academics and athletics, leaving places such as Dorsey — that dominated for so long — behind.

Dorsey High alum and former major leaguer Don Buford sits under a towering ficus tree on campus Saturday during the school’s all-sports reunion.

(Caleb Otte / For The Times)

Dorsey has a long history of sending athletes to the professional leagues. Former major leaguer Don Buford, who graduated in 1955, was present at the event. He barely had a moment to himself as multiple other alumni wanted to chat and grab photos with him, and Buford was happy to exchange excited, reminiscent anecdotes.

Buford was sitting in front of a massive ficus tree, with roots the size of a 5-year-old child coming up out of the ground. He took a moment to look back when talking to a class of 1958 alumni, noticing the size of the plant.

“When I went here, this was just a little tree,” he said.

Eighty years of students coming through the halls of Dorsey watched the small seedling sprout into a towering, beautiful beast.

Knox, and the administration of the school, are treating this reunion as the initial seed for the rehabilitation of the athletics program and hopefully the entire school.

“The passion is there,” Knox said. “We’re really hoping to inspire the teams now, to show them that there’s depth behind the things they do.”

Beyond the prime directive of the event, it simply served as a way for the Dorsey community to experience joy. So many former players caught up with their coaches. People were introducing themselves to legendary alumni that they hoped to meet. Finding a face without a smile would’ve been a Herculean task.

The day also served as a chance to show the current students at Dorsey what opportunities are out there for them, whether that be from sports or otherwise. Former champions were highlighted alongside what Dorsey hopes are their future champions.

Baseball alumni all wore shirts that said “Legacy of Greatness … Five Rings, One Legacy.” Their most recent championship was in 2014. Little signs like that permeated the day, as did a big one displaying every Dorsey championship.

The idea that the school has a history of success, and they want to get back there, was the cornerstone of the event — without it being explicitly stated.

“Once you go here, you get that feeling,” Knox said.

Even with all the fanfare, the man giving out raffle tickets at the front entrance encapsulated it perfectly.

“It’s a great day to be a Don.”

Aug. 8 (UPI) — Former President Jair Bolsonaro will not be allowed to see his sons on Brazilian Father’s Day this Sunday, the country’s top court ruled.

Due to his health, Bolsonaro has been under house arrest in Brasilia since March while serving a 27-year sentence for a coup attempt.

Last month he was placed under a stricter regimen after he breached conditions of his house arrest.

The former president is not allowed to receive visits for 30 days, except by his medical and legal teams.

Bolsonaro’s defense attorneys on Wednesday asked the Supreme Court for special permission, calling it a “strictly humanitarian and family-related” visit for Father’s Day, which Brazil celebrates on the second Sunday in August.

“This is a unique date on the Brazilian calendar, and its observance, even for a brief period and under whatever conditions Your Honor may deem appropriate, would preserve family ties and an important aspect of the relationship between father and children,” the former president’s defense attorneys wrote to the Supreme Court, Gazeta do Povo reported.

But Brazil’s top court on Saturday denied Bolsonaro’s request to host sons Jair Renan, Carlos and Flavio, G1 reported. His fourth son, former Rep. Eduardo Bolsonaro, is living in the United States and was not included in the request.

Last month, Supreme Court Justice Alexandre de Moraes barred Bolsonaro from receiving any visits of a “political-electoral” nature until after Brazil’s general elections in October.

The restrictions came after Bolsonaro wrote a political letter in support of his son, Sen. Flavio Bolsonaro, despite his sentence barring him from participating in national politics.

The younger Bolsonaro, who disseminated the letter on social media, is running against President Luis Inacio Lula da Silva.

“They took away his freedom,” Flavio Bolsonaro wrote on X. “Now they want to take away even a father’s right to hug his children.”

Bolsonaro’s defense lawyers argued in court he was unaware that his son would divulge his writing on social media.

But the court disagreed.

“The letter — written and personally signed by Jair Messias Bolsonaro — was addressed ‘to the Brazilian people,’ demonstrating that it was not of a private nature but rather intended for political and electoral purposes, with dissemination to the general public, using Flavio Nantes Bolsonaro as an intermediary, or in his own words, as his ‘spokesperson,'” Moraes wrote in his decision, G1 reported.

“The text of the ‘Letter to the Brazilian People,’ therefore, clearly shows that Jair Messias Bolsonaro intended to communicate with his political supporters through his son’s social media accounts,” the justice added.

As a result of the restriction, he was also denied a visit by Argentinian President Javier Milei, who in July visited the country in support of Flavio Bolsonaro’s candidature.

The Saudi, Pakistan, Turkiye defence pact faces mixed reactions, with some Iranian officials doubting its security guarantees. Iran and Oman agree on a Hormuz framework, while fighting in Yemen escalates between government forces and Houthis.
Al Jazeera’s @Mohammadfff_ reports.

Aug. 8 (UPI) — On this date in history:

In 1911, newsreels became a standard part of U.S. movie screenings when the French film company Pathe began releasing weekly black-and-white features to theaters.

In 1940, the German Luftwaffe began a series of daylight air raids on Britain.

In 1945, the Soviet Union declared war on Japan, two days after an atomic bomb was dropped on Hiroshima and several days before Tokyo surrendered.

In 1956, a fire in a Belgian coal mine trapped and killed 262 workers in the worst mining disaster in the country’s history.

In 1968, Richard Nixon won the Republican nomination for president. He was elected in November, defeating Democrat Hubert Humphrey and independent George Wallace.

UPI File Photo

In 1974, facing expected impeachment over the Watergate scandal, Richard Nixon became the first U.S. president to resign. He left office the next day. Listen to UPI Radio’s original report.

In 1988, military conservatives overthrew the government of Gen. Efrain Rios Montt in a coup, promising staunch anti-communism.

In 1988, the first night game at Chicago’s Wrigley Field was played. The park was the last major league stadium to add lights for night baseball.

In 1990, Iraqi President Saddam Hussein annexed Kuwait.

File Photo by Ali Kaligh/UPI

In 2003, U.S. leaders of the Episcopal Church approved a landmark local-option resolution on the issue of same-sex marriages, leaving it to local dioceses whether to bless unions of gay and lesbian couples. Church leaders earlier in the week approved their first openly gay bishop.

In 2010, U.N. officials estimated 1,600 people had been killed in monsoon-triggered flooding in Pakistan, and authorities said China’s deadliest mudslides had claimed more than 1,100 lives. Hundreds of people were missing in the two disasters. In addition to flooding deaths, inclement weather factored into a deadly Airblue crash near Islamabad.

In 2018, the Academy of Motion Picture Arts and Sciences announced plans to add a Popular Film category for the Oscars. The academy scrapped the plans less than a month later after backlash.

In 2021, the U.S. women’s basketball team won its record-extending seventh straight gold medal at the Olympics, giving veterans Sue Bird and Diana Taurasi their record fifth gold medal. The Tokyo Summer Games concluded that night with closing ceremonies.

In 2022, the FBI raided former President Donald Trump’s Palm Beach, Fla., home and resort, Mar-a-Lago, looking for evidence of potential mishandling of classified documents.

In 2023, President Joe Biden signed a proclamation establishing a new monument in Arizona to protect nearly 1 million acres of public land that some Native American tribes consider sacred grounds. The new designation was named Baaj Nwaavjo I’tah Kkveni — Ancestral Footprints of the Grand Canyon National Monument.

Aug. 7 (UPI) — Rail passengers in England were facing a second day of delays and disruption Friday, a day after a 90-second power outage at a signaling control center in Manchester brought trains across the northwest, the Midlands, and as far away as Wales, to a standstill.

National Rail said trains were moving again but warned of ongoing disruption to services on the West Coast main line as well as East Midlands Railway, Northern, TransPennine Express and Transport for Wales through Friday afternoon, mainly due to trains and crews being out of position.

“This means that some trains are still expected to be affected this morning. Trains across the Greater Manchester area and northwest of England may still be canceled in full or revised to only run for part of their normal journey until service is able to fully recover,” said track operator Network Rail.

The company told passengers to check if any specific service was operating before heading to the station.

Northern Rail advised passengers to not to attempt to travel before 10 a.m. local time while TPE told its passengers to expect disruption until midday with delays and cancellations likely.

The network was thrown into chaos Thursday afternoon after power briefly went out at the Manchester Rail Operating Center and an emergency back-up supply failed to come online in time to prevent the entire signalling system going down.

The center was part of a major upgrade begun in 2014 phasing out track-side signal boxes in favor of state-of-the-art facilities from which train movements are controlled remotely.

Issuing an apology to passengers, Network Rail northwest director Chris Wright said that engineers had worked all night to bring signaling systems back online and get the railway moving again, saying most services were now operating.

“Of course we will be conducting a really thorough investigation to understand what went wrong and how we learn from this in the future. We need to learn from this. We must do better,” said Wright.

The incident sparked criticism that the failure was due to inadequate state funding of the railways and large-scale layoffs at Network Rail, which is responsible for the track, signaling and other infrastructure, at the start of 2026.

Figures for main-line services from the government’s Office of Road and Rail for the January to March quarter show nearly 81,000 train services, 3.2%, were either pulled or partially canceled and there were “severely disrupted days” when at least 5% of services were cancelled.

However, more than 86% of trains arrived at stations on their routes ahead of schedule, or within three minutes of the time stated on the timetable.