Carrick has confirmed Marcus Rashford will rejoin the Manchester United squad for their trip to the Republic of Ireland.
Rashford, England team-mate Kobbie Mainoo and Argentina defender Lisandro Martinez are the final three players to return for United after the World Cup.
Although it was not expected Rashford would return to the club when he joined Barcelona on loan in July 2025, the La Liga champions failed to trigger a £26m option to buy the 28-year-old at the end of the season.
Despite interest elsewhere, there has been no deal, meaning Rashford will return to United for the first time since January 2025, when he moved to Aston Villa after falling out with former manager Ruben Amorim.
United are training at the plush Carton House hotel in Maynooth and have a friendly with Leeds United at Croke Park on 12 August.
They complete their pre-season programme against Amorim’s new club AC Milan in Wroclaw on 15 August, when Rashford could make his first United appearance since December 2024 if Carrick decides Wednesday is too soon.
A former team-mate, coach and manager of Rashford, it has been felt if anyone can patch up the relationship between club and player – which includes his number 10 shirt being given to Matheus Cunha who is also due to be on the trip after a minor injury ruled him out of the Gothenburg encounter – it is Carrick.
“I’ve played with him. I played in the game he made his debut, so we have a history,” Carrick said.
“We have got a full squad this week in Dublin. We fly straight there and have a few days where we have the whole group back together. Marcus is part of that, and Kobbie [Mainoo] and Lisandro [Martinez]. We look forward to seeing them.”
Some say it’s ridiculous.
Some say it’s refreshing.
Some say it’s unprofessional.
Some say it’s all in good fun.
One thing is certain — Mets relief pitcher Jefry Yan got everyone’s attention with his high-flying, post-strikeout celebration during his MLB debut on Wednesday in Cleveland against the Guardians.
Called up from triple-A Syracuse a day earlier, the 29-year-old Dominican left-hander took the mound to start the bottom of the sixth inning and faced Guardians pinch-hitter Ángel Martínez. Five pitches into the at-bat, Yan caught the hitter looking on an 88.7-mph slider for a called third strike.
Then came the celebration. Yan jumped up — way up — into the air, contorting his legs into somewhat of a split. He landed in a crouch position and slapped the ground before popping up, standing still with his hands up for a fraction of a second, then walking back up the mound with a bit of a leg slide to commemorate his first Major League strikeout.
“Once I had him with two strikes I said, you know what, I’m going to throw that slider,” Yan said through an interpreter after the Mets’ 6-5 victory in 10 innings. “And if I freeze him, which is exactly what I did, I celebrated accordingly.”
Several batters later, however, Yan commemorated his second major league strikeout similarly. Yan had given up two singles and a walk to load the bases before getting Cleveland designated hitter Chase DeLauter on a 90-mph slider for strike three and the second out of the inning.
Once again, Yan did the whole jumping, landing, ground-slapping thing (no slide this time though). Later in the game, Cleveland’s José Ramírez was seen in the dugout apparently imitating Yan’s airborne style of rejoicing.
While most MLB fans might be seeing Yan’s post-strikeout air show for the first time, the celebrations have actually become a signature move for the player during his long, unconventional journey to the majors.
After initially signing with the Angels organization as a teenage international free agent in 2013, Yan eventually spent several years out of affiliated baseball, playing for semipro and amateur teams while also working odd jobs.
He was signed by the Miami Marlins organization in 2021, followed by the Saitama Seibu Lions of Nippon Professional Baseball and the Colorado Rockies organization before the Mets last August.
Yan has other methods of celebrating during games as well. On Wednesday, after Guardians right fielder Jo Adell — playing his second game for Cleveland after being traded by the Angels earlier in the week — grounded into a fielder’s choice at shortstop to end the inning, Yan did a low slide move and slapped his chest, then smacked his glove emphatically several times and blew a kiss toward the sky while leaving the field.
Cleveland fans expressed their displeasure, but Yan wasn’t bothered.
“If they want to yell at me, if they want to boo me, they can do whatever they want,” Yan said. “I’m in my zone. And yeah, I’m going to enjoy my game any way that I want to.”
Yan gave up two hits and no runs with two strikeouts and one walk in one inning pitched. Five of his pitches, all sliders, reached triple digits on the speed gun.
“It’s real stuff. It’s really impressive,” Mets interim manager Andy Green said. “To get out of a bases-loaded jam, get your first punchout, just excited for him. He deserves that.”
The Associated Press contributed to this report.
CHICAGO — Southpaw Tarik Skubal’s experience pitching in the Friendly Confines of Wrigley Field came with a hostile reception. Cubs fans booed him as he approached the bullpen gate in right field to warm up before the game. They jeered even louder and longer as he took the mound in the bottom of the first inning.
That’s what came with the “Los Angeles” scrawled across the chest of his new blue jersey. Over the weekend he’d gone from the top trade candidate in baseball, to a symbol of the Dodgers’ evil reign.
A sports betting site even seized on the moment and paid for an airplane to fly a “THE DODGERS RUINED BASEBALL” banner over Wrigley Field a few hours before the game Tuesday — although it was upside down.
As the boos quieted, he authored a quality start in his Dodgers debut. But that wasn’t enough to serve as the team’s new stopper, as the Dodgers’ offense fell flat. They stumbled to a 5-1 loss and extended their skid to a season-high five games and ensured a second straight series loss.
“There’s certainly no panic,” manager Dave Roberts said. “We’ve been through a lot of these things, this core group of guys. I think that you just got to kind of reset, flush it, find a way to win a game, and not let it just compound. But it never feels good to lose.”
The first pitch Skubal threw as a Dodger, en route to holding the Cubs to two runs and four hits in six innings, was a sinker that zipped through the top of the strike zone at 96.3 mph, according to Statcast, to get ahead in the count against Cubs MVP candidate Pete Crow-Armstrong.
For the next four pitches, he alternated between his four-seam fastball and off-speed pitches — first his changeup and then curveball. And to finish off the at-bat, he located a sinker at the bottom of the zone for a called strike three.
It was a strong first impression, and his first strikeout of six.
“Going to bed last night, excited,” Skubal said. “It felt like my major-league debut, kind of same type of vibe in terms of the nerves running through. But I think that’s all good stuff.”
Skubal retired the first six batters he faced, with the help of a sliding catch by center fielder Andy Pages and a diving grab by right fielder Kyle Tucker.
To end the second inning, Skubal got new Cub Tyrone Taylor to chase a changeup just outside. Skubal skipped backward off the mound and buried his fist in the pocket of his glove in celebration.
The next inning, Skubal wavered ever so slightly. He gave up a first-pitch solo home run to Dansby Swanson.
“I think everyone around the league and he himself would say he’s an aggressive pitcher, he comes after you,” Swanson told reporters. “ He likes to get strike one, he likes to get strike two. You’ve just got to be ready to hit pitches he may leave over the plate, and he doesn’t do that very often. He’s been so good for a reason.”
Then, after another sliding catch by Pages and a strikeout, he gave up a single to Crow-Armstrong and walked Seiya Suzuki.
In his first high-pressure situation of the night, Skubal induced Alex Bregman to fly out on a changeup.
Then, he was back to cruising. Skubal put together perfect fourth and fifth innings.
“He creates really tough angles,” said catcher Ben Rortvedt, after his first game since the Dodgers reacquired him at the trade deadline. “Really commands the glove side really well. And his off-speed is really good, his changeup is elite. It’s two fastballs you can put on a dime. It’s just really good stuff.”
In the sixth, an unlucky bounce pushed the go-ahead run across the plate.
With one out, Skubal walked Suzuki on four pitches. Then he missed his spot with a fastball to Bregman, who roped a line drive to deep right field. Tucker tracked it back to the warning track but just missed the catch as he slammed into the wall. The double put runners on second and third.
Skubal held the Cubs at bay for one more batter by getting Michael Busch to skip a groundball to second baseman Tommy Edman, playing on the edge of the infield grass. He fired home for the second out of the inning.
Then came that dose of misfortune. Skubal’s fastball did its job, as the Cubs’ Nico Hoerner drove it into the ground. Bouncing off the plate, the ball shot up in the air, and then it settled in the grass, giving Bregman enough time to score the go-ahead run.
Ian Happ, left, Seiya Suzuki, middle, and Pete Crow-Armstrong run after beating the Dodgers.
(Melissa Tamez / AP)
The Wrigley faithful turned up the heat, taunting “Skuuuuubaaaaalll.” They’d done something similar in the National League Division Series last year to Brewers ace Freddy Peralta.
“The fans are what create the environment,” Skubal said. “It’s a ton of fun to play in front of crowds like that. Even if they’re booing me or whatever it is, I think that’s what makes the game of baseball really fun, the competition really fun, and the atmosphere is really fun. I’m sure that’s not going to be the only rowdy atmosphere on the road. I plan on pitching in front of those atmospheres for the rest of the season, and then obviously, when it comes postseason time, I’ll be ready to go.”
Skubal bore down and got out of the inning with a flyout from Taylor. That changeup, designed to get him to chase, wrapped up Skubal’s outing at 85 pitches.
“For me, I want him wanting for more, feeling good,” Roberts said. “This is me still learning him. Where we’re at, I’m going to err on the side of being smart and cautious, and knowing that he can still give us more. I’m going to push him, but tonight is not the night. I just felt that that extra inning wasn’t worth the squeeze.”
When Skubal walked off the mound, his team trailed 2-1, their only run a solo homer from Tucker, who’d been booed throughout his first series back at Wrigley since departing the Cubs in free agency.
The Cubs, on the other hand, continued to rally against the Dodgers’ bullpen.
“Just a rut,” veteran leader Mookie Betts said after the loss. “It’s OK. We’re going to be OK.”
SPRINGFIELD, Ill. — Isabella Villareal practiced with the Los Angeles Queens for the first time on Saturday morning, hours before the team’s first game.
She ended up being in the center of the most important moment in the first game of the Women’s Pro Baseball League’s history.
Villareal hit a pinch-hit double with two outs in the top of the seventh to give the Queens a 10-8 lead they’d hold onto to clinch the first WPBL victory.
“The adrenaline was pumping, but I was also nervous,” Villareal said. “But I’m so stoked that I got to go in. I blacked out, I don’t even know what I was thinking, I’m just glad I got to prove myself.”
The Los Angeles Queens’ Ashton Lansdell, left, and Meggie Meidlinger celebrate after beating the New York Heights during the Women’s Pro Baseball League debut game on Saturday in Springfield, Ill.
(Jessie Alcheh / Getty Images)
Second baseman Amira Hondras, coming off a strong women’s baseball World Cup debut last week, tied the game in the at-bat prior with a single up the middle to set up Villareal’s heroics.
“I told her, ‘This is your moment,’ and walked away,” Queens manager Eric Young said of Villareal. “And she went and got the big hit even though she just joined us today. You never know who is going to do it, because everyone is going to play.”
The Queens trailed 7-2 in the second inning but slowly chipped away. Maggie Foxx, whose two-run single in the first inning was the first hit in league history, went 2-for-2 with two runs, a walk and a stolen base and pitched two innings while giving up one run.
Villareal, who turned 20 just two days prior, didn’t know she would play at all on Saturday. Young decided to pinch hit her for designated hitter Thaima Maximiliana despite having never seen her hit in person.
“I was standing next to [Young] before he told Bella she was going to hit and she was in shock,” said Mo’ne Davis (0-for-4, one run). “But you know, she stayed calm the whole time, and everyone was just so supportive throughout the entire game.”
The first WPBL game was delayed 90 minutes by rainy conditions that went on to affect that seventh inning, when Michelle Roche popped up to right field and New York’s Natsuki Yonetani lost the ball in the wind.
Davis, who played center field all night, said the conditions made it difficult to field cleanly.
“We just relied on each other,” she said. “We were all just talking on every single pitch. The last inning was very, very tough. We were getting directions from our coaches and we could not see. But you know we’ll talk over that during practice. But we were just just making sure we had each other’s back, you know, putting each other in the right position, and communication is key.”
Former All-American Girls Professional Baseball League player Maybelle Blair, left, and Los Angeles Queens’ Elodie O’Sullivan, right, talk before the inaugural Women’s Professional Baseball League game Saturday in Springfield, Ill.
(Lexie Knight / Associated Press)
Fans wrapped around the concourse and emptied the merchandise stand before the delayed first pitch and witnessed a torch passing between the league’s current players and past women’s baseball legends.
One of those legends, 99-year-old Maybelle Blair, threw the ceremonial first pitch to San Francisco pitcher Kelsie Whitmore.
“Kelsie was very emotional, and I just went over there and gave her a hug, and I know how much this means to her, and then also Maybellel Blair,” Davis said. “I went up to her. She’s the same person she has always been. Just super high energy. I told her to throw a strike, and she was like, ‘You know I will throw a strike.’ She gave me that sass.”
Foxx is also 20 years old and is listed as a catcher but played in the outfield and pitched on Saturday. New York manager Rocky Henley noted that most players are going to have to play multiple positions, including pitch, because teams have just 15-player rosters.
Foxx, Maximiliana, Hondras and Villareal make up a young core around stars like Davis and Ashton Lansdell that make the Queens, one of the favorites to win the league.
The bats coming alive late on Saturday were a good sign of that.
“This is something that we’ve all been working towards, culminating this event, and it feels like it kind of feels like another baseball game, but it feels like something that we’ve been putting in the work for for 70 years now,” Foxx said.
The Queens won’t play again until Wednesday when they take on the Boston Hunters.
“When I walked on the field I started crying because of how much this moment meant, and how much it meant to everybody,” Foxx said. “It means everything to us.”
A large screen shows the latest stock exchange and economy data in Shanghai, China, 15 June 2026. Photo by ALEX PLAVEVSKI / EPA
July 28 (Asia Today) — China’s successful stock market debut of its largest DRAM manufacturer has fueled expectations that the company could challenge the three global leaders in memory chips, though Chinese media acknowledged that a significant technological gap remains.
ChangXin Memory Technologies, commonly known as CXMT, became the most valuable company in China’s domestic A-share market after its shares surged 465.82% during their first day of trading on Shanghai’s technology-focused STAR Market on Monday.
The shares closed at 49 yuan ($7.24), compared with an initial public offering price of 8.66 yuan ($1.28).
The closing price gave CXMT a market capitalization of about 3.28 trillion yuan ($484.5 billion), surpassing the Industrial and Commercial Bank of China, previously the country’s most valuable domestically listed company.
The shares lost some momentum Tuesday, closing at 47 yuan ($6.94). CXMT’s market value declined to about 3.14 trillion yuan ($463.8 billion), but it remained the largest company in the A-share market.
The listing followed Asia’s largest initial public offering of 2026. CXMT raised about $8.6 billion, nearly twice the amount initially sought, reflecting strong investor demand for Chinese semiconductor companies.
State media celebrates semiconductor advance
Chinese state-affiliated media described the listing as a milestone in Beijing’s drive for technological self-sufficiency.
The Global Times said the market response demonstrated growing investor confidence in China’s semiconductor industry as the country accelerates efforts to reduce its dependence on foreign technology.
The Chinese-language Global Times described memory chips as the “rice of the digital age” and said CXMT had broken the longstanding foreign dominance of large-scale DRAM production.
It said the company had built its design and manufacturing capabilities from virtually nothing over approximately a decade.
CXMT was founded in 2016 and produces DRAM chips used in smartphones, personal computers, tablets and servers. It is widely regarded as the world’s fourth-largest DRAM manufacturer after Samsung Electronics, SK hynix and Micron Technology.
China’s state media said the funds raised through the listing would be used to upgrade memory wafer production lines, expand DRAM research and development and pursue next-generation memory technologies.
Chinese analysts expressed hope that the investment could eventually weaken the dominance of Samsung Electronics, SK hynix and Micron in the global DRAM market.
CXMT’s progress has already heightened investor concern over increasing Chinese competition. Its market debut contributed to declines in several global semiconductor stocks, including shares of South Korean memory manufacturers.
Technology gap remains
Despite the celebratory tone, Chinese media cautioned that CXMT continues to trail South Korean and U.S. memory manufacturers in advanced production processes.
The company is estimated to remain two to three years behind leading foreign manufacturers in some advanced technologies and faces restrictions on access to sophisticated overseas chipmaking equipment.
CXMT’s roughly 8% share of the global DRAM market also remains well below the combined position of Samsung Electronics, SK hynix and Micron.
The memory chip industry is highly cyclical, meaning the current surge in prices and demand associated with artificial intelligence may not continue indefinitely.
Rapid capacity expansion by CXMT and other manufacturers could also increase supplies and place downward pressure on global memory prices.
Chinese state media urged investors and the semiconductor industry not to allow the listing’s success to create excessive confidence.
The debut nevertheless represents a major symbolic and financial achievement for Beijing’s semiconductor strategy. CXMT now has access to substantial capital that could accelerate research, manufacturing expansion and efforts to compete in higher-end memory products.
— Reported by Asia Today; translated by UPI
© Asia Today. Unauthorized reproduction or redistribution prohibited.
Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260728010010446
Halfway through a ride on Universal Studio Hollywood’s new coaster, I didn’t know whether to laugh or scream.
The track turned, angled so my car was completely vertical to the ground, a cliff below me. And then my ride vehicle ever so slightly started to twist, to drift as if banking around a tight curve in a video game. Straight down from me was rocky terrain, but if I looked up and beyond the tracks, I had perhaps the best view of the Valley I’ve ever seen.
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Granted, it was fleeting. But I was alternately in awe and fearful of what Fast & Furious: Hollywood Drift was presenting before me. I held onto my lap bar, gripping it tighter as I lifted out of my seat, and I couldn’t help but smile at my predicament. I was in a mini, expertly re-created Toyota Supra, hanging over a bluff. I was soaring, the sensation of a car careening off a canyon, only here, my life, thankfully, wasn’t at risk. And I didn’t want it to end.
Fast & Furious: Hollywood Drift is intense, yes, but more important, it’s a delight. It’s a roller coaster not just full of thrills but of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip will leave you guessing. And it’s the smoothest coaster I’ve ever been on, a feeling that lends it a sense of approachability not typically found in rides of this speed and unpredictability.
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It is also a ride that will forever change the tone and tenor of Universal Studios Hollywood, a destination that just two decades ago was largely a behind-the-scenes showcase dedicated to movie-making magic. No more. Universal Studios Hollywood is one of the foremost theme parks in the nation, home to the Wizarding World of Harry Potter, Super Nintendo World and now one of the strongest thrill rides in Southern California, changes that haven’t always been met with approval by the park’s neighboring Toluca Lake residents.
Fast & Furious: Hollywood Drift surprise-opened to guests Monday afternoon. The ride is in technical rehearsals, a soft opening, more or less. That means it’s still in a testing phase and may not always be running. If getting on the coaster is a priority for you, it’s best to wait until Universal gives it a grand opening.
A look at Fast & Furious: Hollywood Drift careening over the park’s escalators.
(Todd Martens / Los Angeles Times)
The coaster — designed by Universal, manufactured by Intamin — has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making. Boasting 4,100 feet of track, two towering inverted loops as well as a pretzel loop and the ability to reach 72 mph through four individual launches, Fast & Furious: Hollywood Drift is full of unique attributes, including its ability to go above and under the park’s famed escalators.
But those not attuned to coaster speak need not be overwhelmed. Know only that at times you’re upside down, at times you’re on your side, some moments you’re facing the ground, others you’re glancing at the horizon, and then you may suddenly be flipped backward. And before you have time to worry about it, you’ll be rocketing forward.
The four cars, all expertly themed to storied vehicles from the film franchise in which the coaster takes its name, can rotate 360 degrees. The choreography is sudden, but not jolting and never gratuitous. I’ve gotten motion-sick on other coasters that can rotate, ones specifically in which designers have opted to move the vehicles in time to a soundtrack, but here, the movement is cleverly attuned to the track. If we spike upward at an angle, the cars twirl as if taking off in flight. A dive downward, and we may hear braking noises as the cars lock in a side-facing position. In short, the vehicles feel forever aligned with the designed course. I rode Fast & Furious: Hollywood Drift twice with no issues.
Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift features expertly created mini cars.
(Todd Martens / Los Angeles Times)
And those cars! They are not small. I’m 6-foot-2 and more than 200 pounds and I had ample leg room. And I know those bigger than I am have had no issues riding this new coaster, which seats four per vehicle. Modern coasters aren’t always known for their accessibility, but Universal has created a ride that should be accommodating for many. The ampleness of the cars, coupled with the smoothness of the track, allows Fast & Furious: Hollywood Drift, I believe, to alternately appease those seeking high thrills while not freaking out those who may be more coaster cautious. The goal here is fun, not to terrify.
Universal has crafted some spectacular coasters in recent years: Florida’s Jurassic World VelociCoaster, Stardust Racers and Hiccup’s Wing Gliders, among them. Fast & Furious: Hollywood Drift is not just a worthy addition to that portfolio, but a ride that many, I bet, will declare their favorite. Universal Creative, the division of the company responsible for theme park experiences, and especially the Universal Studios Hollywood team led by Jon Corfino, have accomplished what, just 10 years ago, would have been unthinkable. A high-speed outdoor coaster, in a landlocked studio tour park? Far-fetched, at best.
But instead, it’s a reminder that theme parks are where we go to imagine the impossible.
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
Mr. Todd’s Wild Ride typically comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.
Just_Super
Shares of China’s leading memory chipmaker, CXMT, formerly ChangXin Memory Technologies, surged more than 500% in their Shanghai market debut on Monday, highlighting strong investor demand for China’s semiconductor sector.
CXMT raised 57.92B yuan ($8.6B) by selling shares at 8.66 yuan apiece
Pat McAfee knows just what the world needs in 2026.
More Pat McAfee.
The former Indianapolis Colts punter and kicker already is seemingly everywhere — as the host of his own show every weekday on ESPN, as an analyst on “College GameDay” and guest on a number of other shows on the network, as a commentator/participant with WWE until earlier this year, as host of multiple podcasts, etc.
McAfee has not, however, released an album full of songs written and sung entirely by the two-time Pro Bowl selection himself.
That situation will be rectified in a matter of weeks.
McAfee announced Wednesday that he would be dropping his debut record, “The Diary of a Polarizing Figure,” on Aug. 14, a musical collaboration with country singer-songwriter Ernest.
“For as long as I can remember my mere existence has made people hate my guts,” McAfee wrote in an X post announcing the project. “I’ve been writing songs about it for 20yrs & it’s time to let them aht.. A LOT of headlines & narratives.. if I was to die, I’d like my kids to know exactly who their dad is.”
Although McAfee definitely has his detractors, it’s interesting that he’s putting out an album focusing on the haters, considering his current popularity is such that he is reportedly in talks for a contract extension with ESPN that would pay him more than $60 million a year.
Some online commenters have criticized McAfee for the timing of his announcement, which comes a day after a number of his ESPN colleagues were laid off by Walt Disney Co. McAfee reposted one such complaint on X and commented simply, “The Diary of a Polarizing Figure, August 14th, 2026.”
He said Wednesday on “The Pat McAfee Show”: “A lot of things are being said about me at this exact moment. [People] are going to hear my responses through these songs because these types of situations have been happening to me throughout my entire life. … Literally since elementary school I’ve had people that just don’t like me because I’m too loud and everything like that.”
In December, McAfee released a country-rock single called “Dookie,” also a musical collaboration with Ernest. A news release at the time stated that the single marked “a new partnership between McAfee and DeVille Records / Big Loud Records.”
Ernest told Whiskey Riff early this year that he and McAfee had recorded eight or nine songs together.
“Any EA Sports game should have a Pat McAfee song on it,” Ernest said in describing the former West Virginia standout’s musical style. “It’s locker room hype s—.”
Many athletes have attempted musical careers, with varying degrees of critical and commercial success. It would seem far fewer sports broadcasters have tried the same crossover, with John Tesh probably being the best-known example after his stint covering athletic events for CBS and NBC in the mid-1980s.
If he wants advice from a peer, perhaps McAfee might seek it from Terry Bradshaw, the four-time Super Bowl champion and longtime NFL analyst who also has released a number of country/gospel albums and even had a top 10 country hit with a cover of “I’m So Lonesome I Could Cry” in the 1970s.
McAfee said on his show that he “wrote this entire thing over the last 20 years or so in the notes section” of his phone.
“A lot of very personal stuff in here,” he said. “Finding my singing voice has been fun. That has been a blast. Then [to] all the incredible people in Nashville who have assisted and kind of helped me piece all this together, I’m so grateful and thankful.”
Bonnie Tyler, the husky-voiced, powerhouse vocalist who performed memorable and dramatic pop rock songs including “Total Eclipse of the Heart” in the 1980s, has died.
The Welsh singer died in a Portugal hospital on Wednesday night, according to a statement on her official website and social media accounts Thursday morning. Prior to her death, Tyler was hospitalized and underwent emergency intestinal surgery in May 2026. She was placed in an induced coma to aid her recovery which she awoke from in mid-June but remained “very unwell,” her family said at the time. She was 75.
“Bonnie’s family and team are heartbroken to announce that Bonnie unexpectedly passed away last night in hospital in Portugal as a result of the illness that she was being treated for,” the statement read.
A three-time Grammy Award nominee, Tyler first rose to fame in the late 1970s. She was known for her raspy vocals, offering listeners an edgier sound that also melded rock and pop. Tyler released a total of 18 studio albums, beginning with her debut, “The World Starts Tonight,” in 1977. But she solidified her place in music with collaborations with songwriter-producer Jim Steinman, a hitmaker who worked with Meat Loaf, Air Supply and Celine Dion.
Tyler contributed her powerful voice to Steinman’s dramatic “Total Eclipse of the Heart,” which was released in 1983 ahead of her fifth studio album, “Faster Than the Speed of Night.” Steinman initially envisioned the power ballad as a core piece in a musical adaptation of “Nosferatu,” but with Tyler, the number took on a different life.
“Total Eclipse of the Heart” climbed music charts and earned Tyler a Grammy nomination for female pop vocal performance in 1984. In addition to its commercial and critical success, Tyler’s moody hit became a mainstay in pop culture, covered in the musical TV series “Glee” and finding new life in versions by One Direction, Kelly Clarkson and several other musical acts.
“When I first heard it, I couldn’t believe it had been given to me to record. I just cried at the intense emotion of it and was so happy to have that song,” Tyler told the Guardian in 2009. “Now when I go on stage and sing ‘Total Eclipse,’ everybody sings with me. So many people say they fell in love to it and it means a hell of a lot to them. It’s such an anthem, and such a wonderful feeling, I never get tired of singing it.”
“Total Eclipse of the Heart” wasn’t the only celebrated hit from Tyler.
A year later, she performed “Holding Out for a Hero,” produced by Steinman and co-written by Dean Pitchford, for the 1984 film classic “Footloose,” starring Kevin Bacon. The energetic anthem, which features Tyler’s thunderous voice over a racing beat, also climbed the Billboard Hot 100 (it peaked at No. 34) and went on to be featured in other screen projects, including a pivotal scene in the animated comedy “Shrek 2,” with Jennifer Saunders performing the hit.
Tyler, also known for “Bitterblue,” written and produced by Dieter Bohlen, continued releasing music throughout the ’90s and early aughts. Amid the process of creating her 16th album, “Rocks and Honey,” Tyler joined the Eurovision Song Contest in 2013 to represent the United Kingdom. Though she finished 19th, she said at the time she was glad she competed “because it was an incredible experience,” likening it to the Grammy Awards. She released “Rocks and Honey” that same year, her penultimate album, “Between the Earth and the Stars,” in 2019 and her final album, “The Best Is Yet to Come” in 2021.
In 2022, she was appointed a Member of the Order of the British Empire during Queen Elizabeth’s Platinum Jubilee, recognizing Tyler’s contributions to music.
Tyler was born Gaynor Hopkins on June 8, 1951, to homemaker Elsie and coal miner Glyndwr, and was one of seven children. She was raised Protestant and cared for by her grandparents in the small Welsh town of Skewen. Her passion for music could be traced to watching British charts program “Top of the Pops” with her father, writing down lyrics to the hits of the time and singing them herself. Tyler officially caught the singing bug after placing second at the talent show hosted by a local rugby club.
After the contest, the singer continued her artistic pursuit, performing with a handful of bands including Bobby Wayne & the Dixies and, later, Imagination. She was eventually scouted and traveled to London to record a few demos but did not immediately hear back. “After two years, someone called me out of the blue and told me I’d got a record deal on the same label as Elvis,” she recalled to the Guardian.
The singer underwent several name changes over the course of the career. First she pivoted to Sherene Davis to avoid confusion with fellow Welsh vocalist Mary Hopkin. Then once more, at the behest of RCA Records, to Bonnie Tyler — a name she conjured up by mixing and matching names she read in a local newspaper.
Now Bonnie Tyler, the singer released her debut single “My! My! Honeycomb!” in 1976 and her debut album the following year. However, she would not come into her signature sound until the spring of 1977. Tyler suffered nodules on her vocal cords and underwent surgery to remove them. She feared her career would end as a result, though that would be far from the case.
Tyler, after a brief recovery period, returned to the recording studio with a huskier, edgier voice. “It turned out losing my voice was not too treacherous for me,” she told the Guardian. She released “It’s a Heartache” in 1977 with her raspy voice front and center.
“I had my first hit in America with my new husky voice on ‘It’s a Heartache,’” she said. “Maybe my husky voice was what that song, and my career, needed.”
After her tenure with RCA Records, Tyler signed with CBS Records in 1982, leading to her memorable collaborations with Steinman. At the end of the ’90s, Tyler signed with Hansa/BMG Ariola and, eventually, with EastWest Records and continued to find success in continental Europe. In addition to her albums, Tyler embarked on several tours, most recently her Between the Earth and the Stars live tour in 2019. Her most recent release was “Together” in July 2025, produced by electronic music artist David Guetta, which samples the chorus of “Total Eclipse of the Heart.”
Tyler married former Olympic martial artist Robert Sullivan in 1973. The pair never had their own children — the singer suffered a miscarriage at age 39 — but experienced “no shortage of children,” she told the Guardian in 2012. Tyler had numerous godchildren, more than a dozen nieces and nephews and multiple great-nieces and great-nephews. With her fame, Tyler supported her family and purchased several properties including a home in Mumbles, Wales, and a home in Portugal.
When Tyler reflected on her decades-long career for the BBC in 2019, she said she had long exceeded her own expectations.
“I didn’t expect ever to be making records,” she said at the time. “I was just happy being in a band, singing.”
LEIGH-Anne Pinnock has confirmed she and husband Andre Gray are expecting their third child – and the signs were all there.
The former Little Mix singer, 34, has been busy promoting her debut solo album My Ego Told Me To, but it’s not just the new music that’s acted as a distraction for fans when it comes to her pregnancy.
Leigh-Anne took to Instagram last week to share snaps from a trip to Los Angeles, including one of her covering up in an oversized denim shirt and matching jeans.
She and Andre, 35, recently took their four-year-old daughters to Thailand and some of the holiday snaps suggest Leigh was hiding a bump.
In one photo she can be seen posing behind her girls in an olive green minidress.
Another stunning shot saw the proud mum and her daughters in the sea – with Leigh-Anne posing with her back to the camera.
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The Don’t Say Love hitmaker and footballer Andre are fiercely protective of their children and have never shown their faces or revealed their names.
Earlier this year Leigh-Anne opened up on her decision to keep her daughters out of the public eye.
She told People: “I remember when they were born, I was going through this online hate thing and really seeing the toxicity of social media.
“I mean, I probably would’ve still decided to not show their faces anyway, but that just kind of confirmed it for me. I want them to be able to make that decision.
“I want them to be able to [choose] if they want to be famous or not, because once they’re out there, they’re out there.
Leigh-Anne and Andre tied the knot in 2023 in a beachfront ceremony in Jamaica.
A day before turning out for Derbyshire village side, Fuchs had resigned from his role as head coach of Newport County.
While Fuchs’ first senior managerial role saw him win just nine of 31 matches in charge of the Exiles, he got off to a victorious start in cricket whites.
Bowling first, Fuchs returned figures of 2-20 from his 3.2 overs and also contributed to a run out as Grindleford dismissed Riverside Notts for 150.
“His bowling, he was throwing it but it was alright,” Mahmood laughed.
“It was his first game, so it is what it is. We gave him the benefit of the doubt and didn’t say anything to him.”
During the run chase, Fuchs batted at number six, scoring 12 runs off 18 deliveries, including a four and that six as Grindleford triumphed by one wicket.
“When he got out, he was chatting to all of us. He was a very, very nice guy,” added Mahmood.
“It was a surprise to actually see him there because it was so random. It’s a random game on a Sunday and we just see a Premier League winner there.”
Fuchs is not the only former footballer who has swapped between the two sports later on in life.
Former England goalkeeper Nigel Martyn plays for Cornwall’s over-50s side. Ex-Liverpool and Manchester City midfielder Dietmar Hamann once represented Cheshire side Alderley Edge’s second team while still contracted at City.
Current Newcastle United midfielder Sean Longstaff is also spending his summer break playing for Tynemouth in Division 1 of the North East Premier League.
During his football career, Fuchs made more than 650 appearances for club and country that included six seasons at the King Power Stadium.
As well as winning both the Premier League and the FA Cup, Fuchs won 78 caps for Austria and was captain at Euro 2016.
Great Britain’s Ben Whittaker marked his American debut with an impressive second-round victory against Richard Rivera at Barclays Center in Brooklyn.
The flamboyant Whittaker dropped the American at the end of the first round with a right hand, although Rivera pointed that the punch had caught him on the back of the head.
But Whittaker, nicknamed ‘The Surgeon’, clinically caught his rival with a left-hander at the start of the second and, although Rivera staggered to his feet, the referee stopped the light-heavyweight bout.
The win improved Whittaker’s record to 12 wins and a draw from his 13 professional fights, while Rivera suffered the third defeat of his 30 fight career.
“Brooklyn, that’s how you do it man,” said Midlands boxer Whittaker, who is renowned for his showboating and did a little dance at the end of the first round on the way back to his corner.
The fight took place on the undercard of Xander Zayas, who attempted to defend his WBA and WBO super-welterweight titles against Jaron Ennis.
But Zayas succumbed to a seventh-round stoppage, with the referee ending the contest after the Puerto Rican boxer had been knocked down for a third time in the fight.
It was the first defeat Zayas had suffered in his 24-fight career, while unbeaten American Ennis has 36 wins from as many fights.
THE two nepo-baby sons of an iconic American pop star have made their modelling debut at Paris Fashion Week – can you guess who their mum is?
Her debut single skyrocketed her to fame in the late 1990s and at the time she was just 16-years-old.
The hitmaker, from Louisiana, bagged herself nine Billboard Music Awards, one Grammy and one American Music Award throughout the years she was actively performing and making new music.
She is best known for her tunes Toxic, Baby, One More Time, Oops!… I did It Again and Gimme More.
The princess of pop thrilled her millions of fans with her high-energy performances, memorable outfits and complex dance moves.
Her most unforgettable moment was perhaps when she danced to I’m A Slave 4 You at the VMAs with a huge yellow python.
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The legendary singer in question is of course Britney Spears.
Her two sons – Sean Preston and Jayden – made their official runway debut in Paris on Friday.
The 44-year-old shares her boys with her ex-husband Kevin Federline.
They married in 2004 but later divorced just three years later after Britney filed citing irreconcilable differences as the reason for their split.
Sean, 20, and Jayden, 19, looked unbelievably stylish as they walked for Vetements.
They donned the brands Y2K-leaning menswears Spring/Summer 2027 collection.
The Circus singers’ eldest son looked very chic wearing a pair of baggy blue jeans, an untucked black shirt, matching tie and a satin longline coat.
Meanwhile, Jayden’s outfit was much more rugged – he was dressed in a classic white vest top, a pair of light-wash denim jeans and some black boots.
He accessorised with a chunky brown belt, which had silver chains clipped to the side.
The nepo stars were seen strutting with confidence along the runway despite barely ever being seen publicly.
Britney was not present at the event but has been spending much more time with her boys recently after several years of public estrangement.
Sean and Jayden rallied around the music icon earlier this year after she was arrested for a DUI in California.
They flew straight to her side after finding out the news and just a month later they were spotted holidaying all together on a yacht.
Before her court date, Britney checked substance abuse and wellness treatment facility.
She successfully completed her stay and checked out right before her legal team finalised her plea deal.
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Ferrari has announced that Enrico Galliera, its chief marketing and commercial officer of more than 16 years, will step down, handing one of the most sensitive jobs in the luxury car world to an outsider.
His successor, Massimiliano Di Silvestre, the former head of BMW’s Italian business, takes over on 1 July and will report directly to CEO Benedetto Vigna.
Galliera’s exit comes barely a month after Ferrari pulled the covers off the Luce, its first fully electric model, which received a reception few at the company were happy about.
The car, whose edgeless styling was developed with LoveFrom, the design studio founded by former Apple design chief Jony Ive, broke sharply from Ferrari’s traditional look and drew swift ridicule from enthusiasts and investors alike.
The backlash was unusually public for a brand accustomed to adoration.
Ferrari’s shares fell more than 8% in a single session after the reveal, a sharp market verdict on one of the industry’s most valuable names.
Critics lined up to attack the design, among them the company’s own former chairman, Luca Cordero di Montezemolo, who warned that the brand was risking the destruction of a legend and went so far as to suggest the famous badge be removed from the car.
Italy’s deputy prime minister, Matteo Salvini, joined in, questioning the four-door model’s price, which starts at €550,000.
However, Ferrari has firmly rejected any link between the criticism and Galliera’s departure.
According to the company, he had decided to move on some time ago and agreed to remain in place through the Luce launch before pursuing what it described as a new chapter in his career.
Vigna praised his contribution and framed the change as part of the brand’s evolution rather than a reaction to it.
Whatever the motivation, the choice of replacement is telling.
Di Silvestre brings more than two decades of experience in the premium car market, having steered BMW Italy since 2019, and represents a rare move by Ferrari to recruit its commercial chief from a rival rather than promote from within.
He inherits the task of selling an electric Ferrari to a clientele that pays a heavy premium for exclusivity, at a moment when demand for high-performance EVs has cooled.
Ferrari maintains that interest in the Luce remains strong, though investors will not get a clearer picture until the company reports its second-quarter results on 30 July.
ROMEO Beckham has made his acting debut in a gay tennis movie – as he flirted with his co-star in a first look of the film.
This comes days after Romeo and girlfriend Kim Turnbull enjoyed a pricey Harrods picnic after he was pulled over in £100k Porsche.
Romeo stars opposite Paul Kircher (The Animal Kingdom), Guillaume Canet (Sink or Swim) and Benjamin Voisin (The Stranger).
The movie, Forty Love, centres around Sacha Gallo, a tennis superstar who’s been training with his father to win a major trophy in Paris.
But the arrival of a charismatic new rival — played by Romeo — challenges everything Sacha thought he understood about competition, ambition and himself.
The synopsis reads: “For the first time, he faces an opponent of an entirely different nature — love.
“A force as exhilarating as it is destabilizing — and far more dangerous than anything he has encountered on the court.”
Romeo, the son of football legend David and fashion designer Victoria, has modelled for the biggest luxury brands like Yves Saint Laurent and Balenciaga for years.
Fans flocked to comment on social media and one wrote: “Romeo picking a debut where the rival becomes the love interest is bold casting.”
Another said: “Watching this to see if romeo can sell the moment the match turns personal.”
A third said: “Beckham energy meeting soft tennis drama is giving unexpected but welcome character arc.”
“This setup turns every serve into a metaphor and i’m here for it,” said another.
While a fifth wrote: “From the football pitch to a romance film…. That’s an unexpected career move. Wishing him the best for his acting debut.”
Forty Love marks the first directorial outing by renowned fashion photographer Pierre-Ange Carlotti.
The film is produced by Hugo Sélignac and Paco de Bary at Chi-Fou-Mi Productions, a Mediawan company, and co-produced by Studiocanal and Manna Studios.
Spanish painter Nieves González arrives in Los Angeles for her first U.S. solo exhibition having already experienced a taste of fame.
The 29-year-old caught the attention of the art and fashion worlds last year after being discovered on Instagram and commissioned to paint the cover of Lily Allen’s album “West End Girl.” Depicting the singer as a Baroque aristocrat clad in contemporary designer fashion, the portrait helped propel González onto an international stage.
Collectors have taken notice. The 13 paintings in “A Friendship Story,” opening Saturday at Richard Heller Gallery in Santa Monica, have already sold out, according to the gallery, with prices ranging from $4,000 to $20,000.
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Elle magazine dubbed González “Fashion’s Favorite New Artist,” while exhibitions in Rome, Paris, Belfast and Bilbao, Spain, expanded her reputation across Europe.
González developed her classic yet defiantly modern approach while studying at the University of Seville, where Spanish masters such as Diego Velázquez and Francisco de Zurbarán painted in the naturalist Baroque tradition. Drawing liberally from fashion, art history and everyday life, she often dresses the subjects of her portraits in puffer jackets — garments she wears herself during the cold winters of Granada, Spain, where she lives. The material, she said, recalls the sculptural rendering of fabric in paintings by Zurbarán and Velázquez: the folds, the volumes, the high shine.
Nieves González often dresses her subjects in puffer jackets.
(Genaro Molina / Los Angeles Times)
“It works beautifully from a visual standpoint,” she said, speaking Spanish during an interview at Santa Monica’s Bergamot Station a few days before the exhibition opened. Wearing blue jeans and a pink button-down blouse, she echoed the pastel blues and pinks that appear throughout many of the works surrounding her.
“Fashion inspires me,” she said. “Just as 17th century artists drew inspiration from the fashion of their day — often creating paintings that served as catalogs of current styles — I do the same,” she said. “The goal is to not merely convey a specific message or ideology but to create a testament to a generation and the era in which we live.”
This fall, González’s painting “La Sfida” (2025) will appear in the Städel Museum’s exhibition “Mary Magdalene. Sin. Pray. Love” in Frankfurt, Germany, alongside works by Lady Gaga, Marlene Dumas and Auguste Rodin. The painting depicts Mary Magdalene with long, flowing hair, draped in a regal red garment and clutching a skull — a contemporary interpretation of one of Christianity’s most enduring figures.
“Nieves González is the youngest of these artists and, at the same time, probably the one who most closely follows in the tradition of the Old Masters,” curators Bastian Eclercy and Stefan Roller wrote in an email.
The Santa Monica exhibition marks an evolution from the paintings that established González’s reputation. Earlier works often centered on solitary women posed with the self-possession of royal portraits or religious icons. “A Friendship Story” focuses on relationships between pairs of women, exploring friendship, intimacy, support and shared experience.
For González, friendship is one of the most profound aspects of women’s lives and a subject she felt deserved greater attention in painting.
Victoria Rios, a curator who works with González, said the artist’s paintings “rewrite the narratives of the past, rewrite the history of martyrdom and place women at the center.”
“Nothing in her painting is arbitrary,” Rios said in an email. “Every formal decision is also an ethical one.”
“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” Nieves González said. “It seemed like a way to elevate the concept of friendship.”
(Genaro Molina / Los Angeles Times)
González frequently turns art historical conventions on their head. In “Salir a robar caballos: Go out to steal horses,” she replaces the archetypal portrait of a gallant man on horseback with two young women dressed in puffer and vinyl jackets, posed like contemporary Amazons atop rearing horses.
“The horse elevates the art; symbolically, it carries connotations of elegance and nobility,” González said. “It seemed like a way to elevate the concept of friendship. It also has an element of play, adventure and fun, since having fun is part of the bond too.”
The artist also sees her work through a feminist lens.
“We live in a patriarchal society, and so, unfortunately, I belong to the oppressed segment of that society, and my work relates to that,” she said. “It stems from a struggle, an understanding and a process of redefining concepts that we have historically established as normal, natural and habitual.”
“I am interested in portraying us as brave and powerful, sometimes even with an air of haughtiness,” she said.
Another painting, “Something’s crossed over me and I can’t go back” (2026), captures González’s fusion of historical and contemporary references. Two women dressed in green and pink fur cradle each other’s heads, reimagining medieval depictions of cephalophores — Christian martyrs who carry their severed heads while continuing to preach or pray.
The title comes from a pivotal line in the 1991 film “Thelma & Louise,” marking the turning point for Geena Davis’ character Thelma, fully committing to her ultimately fatal adventure with Susan Sarandon’s Louise.
Nieves González, “Holding You,” 2026 (oil on canvas).
(Genaro Molina / Los Angeles Times)
González builds each painting from what she calls a “Frankenstein” — a digital composite assembled from archival photographs, found images and reference material. The painting process then takes over. A mid-project visit to the Prado Museum in Madrid, for instance, might send her back to the digital sketch to pull in a compositional element from Velázquez before returning to the canvas. “The final result often ends up being completely different from what I initially envisioned,” she said.
Heller began representing González, whom he calls an “original voice,” last year after being introduced to her work by another painter.
Staging her first U.S. solo exhibition in Los Angeles rather than New York reflects what he sees as a more relaxed environment for an emerging artist, without the glare and expectations of the New York art world.
“L.A. feels a little less constrained,” Heller said. “It feels a little more free.”
González’s portrait of Allen is currently on view at London’s National Portrait Gallery, hanging in the same room as a self-portrait by David Hockney. She said while it “has been very significant in terms of media exposure,” exhibitions and professional opportunities were already in motion before the album cover brought wider attention.
“I’ve always said that what I want to do in life is make a living from painting,” she said.
Mission accomplished.
‘Nieves González: A Friendship Story’
Where: Richard Heller Gallery, 2525 Michigan Ave. #B-5A, Santa Monica
When: Saturday – July 25
Reception: Saturday, 4 – 6 p.m.
Info: richardhellergallery.com
MYLES Smith reveals he was physically abused by his father in his heartbreaking debut album My Mess, My Heart, My Life.
The Luton-born star, who was raised by his mother Deborah, recalls his difficult childhood in emotional tracks My Mess and Grandma’s House.
Not since Lewis Capaldi’s astonishing 2019 album Divinely Uninspired To A Hellish Extent have I heard a more impressive and honest debut record, with Myles pouring his truth into the 15-track album.
Created over the past three years, as Myles’ career went stellar thanks to his 2024 runaway hit Stargazing, the star takes his fans back to his beginnings.
Lead track My Mess reduced me to tears as Myles regaled his relationship with his father against a backdrop of an upbeat, acoustic guitar.
He sings, “I was born into a fractured family, where a word can start a war.
“Lost my tongue, when I spoke my peace, yeah he grabbed my shirt and he bruised my cheek.
“Sad a man had to go toe to toe with a boy thirteen.”
Emotion-packed Grandma’s House, where Myles, 28, recalls finding his safe space as his mum Deborah worked to make ends meet, is packed with emotion and reflection.
On the track he sings: “Take me back to my Grandma’s place.
“I was 7 years old when I learnt how to cook, and 10 when I started to sing.
“Oh she’d bring me to church, and she’d cover my ears, when my Dad would scream horrible things.”
Myles’ signature acoustic guitar underpins every track, with Hate You untangling the realities of navigating love and Sertraline seeing Myles exploring mental health and complexities surrounding it.
This is an album for the brokenhearted and the hopeful, with the beautifully worded Lifetime and the dreamy vocals on Heaven – which is my favourite song on the record – seemingly bringing Myles’ the happy ending he’s been searching for.
Over the past two years, Myles has grown in prominence – winning the Brit Awards Rising Star gong as well as earning an Ivor Novello Award for Stargazing.
To date Myles has amassed over 4.7billion streams worldwide and is one of our country’s most exciting new stars.
Opening up about the record, Myles said the album was born out of “therapy notes, old memories, relationships, insecurities, heartbreaks, mistakes and all the moments that shaped me.”
The latter half of the album moves towards a positive note, with Nice To Meet You and Gold showing Myles coming out on the other side.
Myles said: “It was important to end the album, and particularly this project on a high.
“I feel like I always try to mirror my music with my live shows and my live shows are always about taking people on an emotional journey and then sending you home happy.
“It is that sense of hope which lingers on as Gold closes the album.
“Even though I may appear miserable for a lot of this album, I genuinely always walk with hope and I walk with joy at the end of the day.”
Heaven, mark my words, will become a live show staple for Myles, who with My Mess, My Heart, My Life has more than proven he can hold up against the greats when it comes to writing songs about love and loss.
It was all-white on the night for Maya Jama and Pixie Lott as they stood out in these dresses at the V&A Museum’s summer party.
They were joined at the bash by model Leomie Anderson, in an open white suit with gold jewellery, Ellie Goulding sporting a blazer dress, and Sir Mick Jagger with his fiancee Melanie Hamrick.
Once inside the museum, in London’s South Kensington, guests got the chance to schmooze around the exhibits, while Jessie Ware sang live in a sequin gown.
With tickets flying for her autumn tour, they were lucky to see her.
But access to the fundraiser, for those who did pay, cost £3,999. That is one expensive night out.
KAISER CHIEFS frontman Ricky Wilson will play Teen Angel in Grease: The Immersive Movie Musical.
The show is being put on by Secret Cinema from July to September at Evolution London in Battersea Park.
Ricky, left, said: “At school I was in Grease. I was not yet the pop sensation I am today and I only really wanted to do it because I fancied the girl who played Frenchie,
“I was Doody, so this is my chance to show everyone I should’ve got a bigger part.
“I don’t believe anyone from that production is now a professional singer – so in short, I win.”
You will hear some surprisingly familiar voices in Toy Story 5 if you head to the cinema this weekend – as Capital Breakfast’s Jordan North and Sian Welby have landed roles.
They voice a garden gnome and inflatable flamingo in the long-awaited Pixar sequel, and mum-of-one Sian has high hopes for its impact.
Speaking about the film, which is about tech replacing toys, Sian, right, said: “I do think it’s going to start a massive conversation about screen time.
“It made me want to smash every bit of tech in my house and just get out in the grass and play all the games that I did growing up.
“I think a lot of us are going to watch it and feel guilt. It’s sad we have to grow up so fast because there’s so much magic when you’re younger.”
Best-selling novel One Day is coming to the West End as a musical.
The David Nicholls love story – which has previously been adapted for both the big and small screen – will premiere at London’s Garrick Theatre on November 17, following shows in Edinburgh earlier this year.
Tissues and jazz hands at the ready.
MNEK is returning with his first album in eight years.
The singer has today released the single Reverse!!, which samples Lethal Bizzle’s Pow! (Forward) and will be on his Bulldozer record this autumn.
Also out now is Jax Jones’ Pulling Me Back, Tiny Habits’ Anything He Was featuring Matty Healy from The 1975 and Grow Down by Luca George.
Ahead of his opening night in Jesus Christ Super-star in London, Sam Ryder has released What’s The Buzz.
And to support England’s World Cup efforts, Kerry Katona has re-recorded Atomic Kitten’s Whole Again as Home Again to raise cash for kids in care.
She said: “Even if you think it’s s***, please download it so we can give back.”
If there is a stage that is too big for Erling Haaland, we’re yet to find it.
A hat-trick on his Champions League debut for RB Salzburg, a hat-trick on his Bundesliga debut for Dortmund, a double on his Premier League debut for Manchester City, and now two goals on his World Cup finals debut, inspiring Norway to a 4-1 win over Iraq.
The 2026 World Cup might be six days in, but it felt as if it really began on Tuesday, with Kylian Mbappe inspiring France to a 3-1 victory over Senegal with two superb goals which made him Les Bleus’ all-time leading scorer.
Little over an hour later, Haaland strode out for his first World Cup appearance and picked up the gauntlet thrown by Mbappe, nearly 18 months his senior, with a display full of desire, as well as the goals we have come to expect.
Norway manager Stale Solbakken said afterwards: “You can see he lived up to the occasion – it wasn’t too big for him.
“I had a good feeling before the game, the last training session was very good. I had a feeling he would do it for us today.”
Iraq head coach Graham Arnold added: “He’s just an amazing number nine. We dealt with him quite well for a lot of the game [but] at the end of the day he’s a top striker.
“Norway could shock a lot of people with the team they have. They could go a very long way.”
Arnold spoke to Haaland after the final whistle and revealed: “I just said to him: ‘You’re one of the best number nines I’ve ever seen.’ He’s so strong, so quick and he’s just lethal.”
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The moment that Wall Street had anticipated all year arrived on Friday as SpaceX, the AI and aerospace company controlled by Elon Musk, began trading publicly on the Nasdaq in the largest initial public offering (IPO) in the history of financial markets.
In a speech before the New York session opened for trading, Musk stated that SpaceX’s goal is to “take the fiction out of science fiction.”
SPCX opened at $150, over 10% above its $135 IPO price, and it was already at more than $160 after the first few minutes of live trading.
The company confirmed on Thursday that it had priced 555.6 million Class A shares at $135 each, valuing the firm at roughly $1.78 trillion (€1.54trn) and targeting a raise of $75 billion (€64.5bn) that instantly eclipsed Saudi Aramco’s $29.4 billion (€25.4bn) listing, which had stood as the global record for almost seven years.
Only around 3% to 4% of SpaceX shares are currently available for public trading.
The company earmarked as much as 30% of its offering for retail investors, including 10% dedicated to European buyers, but the final amount was set at 20%. As for options contracts on SPCX, they are scheduled to begin trading next week.
The IPO has also brought Elon Musk closer to becoming the world’s first trillionaire.
Forbes valued his pre-IPO SpaceX stake, estimated at around 42% of the company, at about $500bn (€435bn). At the IPO valuation, those holdings are worth roughly $690bn (€600bn), adding nearly $190bn (€165bn) to his fortune and pushing his net worth closer to the $1tn (€870bn) milestone.
Along with Musk, thousands of SpaceX employees are benefitting from the IPO and becoming millionaires.
The listing will give millions of savers indirect exposure to SpaceX as the company is expected to qualify for major stock market indexes shortly after its debut, meaning its shares could be automatically purchased by index-tracking funds.
SpaceX is estimated to be fast-tracked into the Nasdaq-100 in less than a month, as opposed to a typical wait of as much as a year.
Nasdaq’s new fast-entry rule, introduced in May, now sees it evaluating newly listed stocks for potential entry by ranking their market capitalisation on the seventh trading day and assessing whether they would rank within the top 40 index members.
SpaceX is already in the top 10.
Among other changes announced, the rule that requires companies to float a minimum of 10% of their shares was also scrapped.
Analysts estimate that funds tracking the Nasdaq-100 will be required to purchase at least $7bn (€6bn) worth of SpaceX shares around the inclusion date, creating a wave of mechanical demand.
SpaceX has also already become eligible for inclusion in both the Russell US Equity Indexes and the FTSE Global Equity Index Series under the newly announced fast-entry rules from the index provider FTSE Russell.
The S&P 500, however, will not adopt a similar fast-track approach.
S&P Dow Jones Indices confirmed in early June that it would maintain its 12-month seasoning requirement and GAAP profitability test, meaning SpaceX will not join the index before mid-2027.
This is a developing story and will be updated as more information becomes available.
This article does not constitute financial advice, always do your own research and invest according to your specific circumstances.
Erling Haaland swapped the football pitch for the ice rink as he and his Norway team-mates took in a Stanley Cup match.
The Norway contingent provided lively support for the Carolina Hurricanes in game five of the NHL play-off series against the Vegas Golden Knights on Thursday.
The Manchester City forward, who will make his long-awaited World Cup debut against Iraq on 16 June (23:00 BST), cut a relaxed figure at the Lenovo Centre in Raleigh, waving to the crowd when the Norway team appeared on the scoreboard screen and swinging a Hurricanes rally towel around his head.
Arriving at the game in a grey polo shirt, he was later filmed beaming in a white and red Hurricanes jersey emblazoned with the number nine – the same number he wears for both club and country.
The Hurricanes, targeting their first Stanley Cup crown for 20 years, lead the Golden Knights 3-2 in the best-of-seven series, completing a 4-2 regulation win in game five.
Norway are playing at their first World Cup since 1998 – and their first major tournament since Euro 2000 – and have already made a mark despite not starting their campaign until next Tuesday.
SpaceX is set for the largest stock market debut ever.
Elon Musk’s rocket company begins trading on the Nasdaq on Friday under the ticker SPCX. The company priced its shares at $135 each, raising $75 billion (€64.5bn) and valuing the business at $1.75 trillion (€1.5trn) in the biggest stock market flotation on record.
The deal would comfortably eclipse Saudi Aramco’s previous record of $29.4bn, set in 2019 and later increased through an overallotment option.
SpaceX made an unusually strong push to attract retail investors, including those in Europe. According to Bloomberg, individual investors placed roughly $100bn (€86.6bn) in orders through trading platforms including Robinhood, Fidelity and SoFi during the IPO process.
That demand alone exceeded the company’s $75bn (€64.5bn) fundraising target, underscoring the level of interest from smaller investors ahead of the stock market debut.
Yet beneath the hype, several warning lights are flashing. Here are five risks investors should weigh before the SpaceX IPO goes live.
At a valuation of $1.75tn (€1.5trn), investors would be valuing SpaceX at roughly 94 times its annual revenue, which was $18.7bn (€16.1bn) in 2025. By comparison, Nvidia — one of the market’s most highly valued technology companies — trades at less than a quarter of that level.
The investment research firm Morningstar, which values the company at $780bn (€675bn), called it “significantly overvalued” while Goldman Sachs data suggests sustaining the share price would require revenues above $100bn (€86.6bn) by 2030, implying a compound annual growth of more than 40%.
History offers a note of caution. Research by University of Florida professor Jay Ritter, often referred to as “Mr IPO”, found that while IPOs between 2012 and 2021 rose an average of 23.6% on their first day of trading, they returned just 10.6% over the following three years.
SpaceX’s expected inclusion in major stock indexes has become a point of controversy. Investment officials from four large US states have urged Nasdaq and FTSE Russell to explain recent rule changes that could accelerate the company’s entry into widely tracked benchmarks.
Critics argue the move could expose passive investors to a highly valued stock sooner than expected, while the index providers say the changes reflect broader market developments.
The debate matters because relatively few SpaceX shares will initially be available for trading. Although SpaceX is valued at $1.75tr (€1.5trn), only around 3% to 4% of its shares will initially be available for public trading.
That means the company’s market value will be determined by trading in a relatively small portion of its equity. Reports suggest more than 75% of the $75bn (€64.5bn) offering has already been allocated to existing investors and insiders, leaving fewer shares available on the open market.
According to Morningstar, the limited float and strong demand for artificial intelligence-related stocks could help support the share price in the early stages of trading, even if the company is valued above what the research firm considers fair value. The firm argues that a clearer picture of investor demand may emerge once lock-up restrictions expire and more shares become available for trading.
Some analysts, however, believe the limited float could continue to support the stock. Estimates suggest between $22 billion (€19bn) and $27 billion (€23.4bn) of passive investment could flow into SpaceX once it joins the Nasdaq 100, creating additional demand from index-tracking funds.
SpaceX’s financial results may also give investors pause.
The prospectus shows that the company is growing rapidly but still losing money.
The company owns the Starlink satellite internet service, which generates most of its revenue and is its only profitable business. It also owns the artificial intelligence company xAI, which merged with SpaceX in February.
According to the filing, SpaceX carried an accumulated deficit of $41.3bn (€35.76bn) as of 31 March and reported a net loss of $4.27bn (€3.7bn) in the first quarter of 2026.
This compares with $528mn (€457mn) in the same period a year earlier.
Much of the recent loss stems from xAI. According to SpaceX’s IPO filing, the AI business recorded an operating loss of about $6.4 billion (€5.5bn) in 2025. The filing also showed xAI spent heavily in the opening months of 2026 as it expanded its AI infrastructure.
Morningstar argues the AI unit “poses a material threat of value destruction”, noting that Grok has yet to win meaningful market share against rival chatbots.
Supporters counter that the losses are a choice, not a structural flaw.
Revenue climbed 33% to $18.7bn (€16.2bn) in 2025, up from $14.1 billion (€12.2bn) a year earlier. The underlying launch and satellite business was profitable as recently as 2024. The deficits largely reflect heavy investment in AI infrastructure, spending that supporters say is already beginning to be offset by new compute contracts.
Supporters argue investors are paying for future growth rather than current profits.
Starlink remains the company’s main source of revenue, while its artificial intelligence business is expected to play a larger role in the years ahead.
Bulls also point to SpaceX’s dominant position in rocket launches and satellite communications, arguing the company is uniquely placed to benefit from growing demand for connectivity, computing power and AI infrastructure.
SpaceX conducts more rocket launches annually than the rest of the world combined and counts over nine million Starlink subscribers, but its newest growth driver is the AI data-centre business acquired through the xAI merger.
Last Friday, Google agreed to pay SpaceX $920 million (€796.6mn) per month for compute capacity at xAI data centres, in a 32-month deal running from October 2026 through June 2029, and covering access to roughly 110,000 Nvidia GPUs.
That followed a May agreement under which Anthropic pays $1.25 billion (€1.08bn) a month to rent the entire output of the Colossus 1 data centre until May 2029, putting combined annualised compute revenue at around $26 billion (€22.5bn).
Bulls argue this contracted income, won in under four months, shows how quickly the company can monetise its infrastructure. Sceptics note that both contracts carry 90-day termination clauses after December 2026, and that Google itself has framed the arrangement as “bridge capacity” rather than a permanent commitment.
SpaceX’s success is closely tied to Elon Musk, whose profile and track record have helped attract investors, customers and business partners. That creates what investors call “key-person risk” — concerns about how the company would fare if he were no longer leading it.
The company’s governance structure reinforces that dependence. Musk’s super-voting Class B shares give him around 85% of voting power, leaving outside shareholders with little influence over major corporate decisions. In practice, that means no one but Musk himself can determine whether he remains chief executive.
Critics also point to SpaceX’s incorporation in Texas, where only investors holding at least 3% of shares can bring derivative lawsuits. The Danish academic pension fund AkademikerPension has blacklisted the stock, describing the governance structure as “catastrophic”.
Supporters argue that dual-class share structures are common among US technology firms, including Meta and Alphabet. They say concentrated voting control allows founders to pursue long-term goals without pressure from short-term investors.
Musk’s prominence also brings political risk. US Senator Elizabeth Warren has urged the Securities and Exchange Commission to scrutinise the listing, warning that future index inclusion could expose millions of passive investors to the stock without them actively choosing it.
Others note that the SEC completed its review faster than expected, allowing the IPO process to move ahead without delay and suggesting regulators see no immediate obstacle to the listing.
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Angels first baseman Trey Mancini, a cancer survivor and former Baltimore slugger, had three hits in his first major league game since 2023 on Monday night in a 5-4 loss to the Houston Astros in 10 innings.
Mancini delivered a run-scoring single in the second inning in his first at-bat. He singled again leading off the fourth before adding a third single in the eighth.
The Angels selected the contract of Mancini and put him in the lineup at first base against the Astros after putting infielders Vaughn Grissom (left oblique strain) and Adam Frazier (right elbow inflammation) on the 10-day injured list.
Mancini, 34, agreed to a minor league contract with the Angels in February, a deal that included an invitation to major league spring training. Mancini hit .273 with six homers, 29 RBIs and three steals for triple-A Salt Lake this year.
Mancini has batted .263 with 129 homers and 400 RBIs over parts of seven seasons in the majors. He played parts of six seasons with the Orioles and hit a career-high 29 homers in 2019.
Mancini then missed the 2020 season after surgery to remove a malignant tumor from his colon. He made a successful return to the Orioles in 2021, and he won a World Series ring in 2022 after Baltimore traded him to Houston.
He spent part of the 2023 season with the Chicago Cubs. He has since played in the minor league systems of the Reds, Marlins and Diamondbacks.
Mancini opted out of a minor league deal with Arizona last July after batting .308 with 16 homers for triple-A Reno.
Grissom’s move to the IL was retroactive to Friday. Frazier’s move was retroactive to Saturday.
The Angels also recalled infielder Denzer Guzman from Salt Lake and transferred infielder Yoán Moncada to the 60-day injured list.
