Seeking gift ideas for nature lovers, hikers, walkers, campers, adventurers and just plain outdoorsy folks in your life? We’ve got you covered with great gifts, from stocking stuffers to special finds.
Times are tough and inflation is real, but this holiday season, it’s still possible to shower your loved ones in luxury without breaking the bank.
There’s no rule that says indulgence has to come with a hefty price tag. As my friend Nicole likes to say, a luxury item is one that you wouldn’t think of buying yourself.
Does anyone need an iPhone case in rich pebbled leather? Probably not, but they absolutely might enjoy one.
On this list of gifts that feel expensive (but aren’t), you’ll find a rich smelling high-end candle alternative, an elevated bottle of indie nail polish with a display-worthy brass cap and one of the best olive oils you’ll ever taste from the fruit of 100-year-old California olive trees.
My editor challenged me to keep all the gifts under $40, and dear Gift Guide reader, I rose to the challenge — if you don’t count shipping costs. Remember: Luxury is a matter of extravagance, not price.
If you make a purchase using some of our links, the L.A. Times may be compensated. Prices and availability of items and experiences in the Gift Guide and on latimes.com are subject to change.
GLADIATORS fans will soon get the chance to live out the show in real life thanks to a new experience.
Birmingham will be getting The Gladiators Experience at the National Exhibition Centre (NEC), full of classic challenges seen on the popular TV show.
Sign up for the Travel newsletter
Thank you!
A Gladiators experience is opening in Birmingham next yearCredit: BBC
In total, the experience will sprawl across 10,000sqm and offer a gladiator ‘training facility’ as well as behind-the-scene insights.
Challenges include The Wall, Eliminator, Hang Tough, Duel and Travelator.
While little details have been revealed about what the different features look like, fans can expect the real-life challenges to be similar to the ones on the show.
For example, in Duel, contenders and gladiators face off on raised platforms, by trying to knock each other off.
Then for The Wall, two contenders race to climb a large wall, whilst being chased by two gladiators.
For the Hang Tough challenge, contenders must swing on a trapeze as gladiators try to drag them down.
Visitors will then also be able to see behind the scenes of the TV show in the Vault.
And if they want to develop their skills further, they can head to the Gladiator Training Facility.
There will also be a shop where fans can purchase exclusive merchandise.
The experience will be open to all ages and expected to launch in May 2026.
Ticket prices and when they will go on sale are yet to be announced.
The show originally launched back in the 90s and is currently in its third revival.
On the show, contenders compete against gladiators in a series of challenges to earn points.
The show finishes after a final race called The Eliminator, where the contender with the most points gets a head start.
The winner is then the first person to complete the obstacle course.
Visitors will be able to take part in a number of challenges seen on the TV showCredit: PA
Dom Bird, senior vice president at MGM Alternative Television said: “Now, fans young and old will get one step closer to walking in the footsteps of their heroes, as we announce our brand new Gladiators Experience.
“Based at the NEC Birmingham, everyone finally has the chance to test their skills on the iconic games – from Duel and Hang Tough, to The Wall, and of course the legendary Travelator.
Former world heavyweight champion Joseph Parker says he is “focused and prepared” before Saturday’s fight against Fabio Wardley, who hopes to rely on his punching power to get through their bout at London’s O2 Arena.
Netflix is looking to capitalize on the popularity of its animated movie “KPop Demon Hunters” — and continue its foray into the retail space.
Netflix on Tuesday announced a licensing deal with toy makers Mattel Inc. and Hasbro Inc. to make dolls, action figures, plushies, youth electronics and other items based on “KPop Demon Hunters,” a movie about a trio of powerful singers and demon hunters who protect the world from dangerous demons.
“KPop Demon Hunters” has been a worldwide hit since its release in June, becoming Netflix’s most-watched film with more than 325 million views in its first 91 days on the streaming service.
The licensing deals come as Netflix has been aggressively partnering with brands to expand the fandom of its shows and movies.
Next month, Netflix will open the first of several planned physical locations called Netflix House where it will host experiences based on its programs and sell food and merchandise.
“KPop Demon Hunters unleashed a global fan frenzy,” said Marian Lee, Netflix’s chief marketing officer, in a statement. “Netflix, Mattel and Hasbro joining forces on this first-of-its-kind collaboration means fans can finally get their hands on the best dolls, games, and merchandise they’ve been not-so-subtly demanding on every social platform known to humanity.”
Under the partnership, Hasbro and Mattel will both become global co-master toy licensee to “KPop Demon Hunters.”
Netflix has had other partnerships with other toy makers, including Squishmallows for shows like sci-fi series “Stranger Things” and Lego sets based on pirates tale “One Piece.”
The Los Gatos, Calif., company has also launched in-person experiences such as balls based on the Regency era romance series “Bridgerton.”
“KPop Demon Hunters is a powerful pop culture phenomenon with global resonance—one that aligns seamlessly with our portfolio of iconic brands and our commitment to innovation,” said Tim Kilpin, Hasbro’s president of toy, licensing, and entertainment, in a statement.
It’s confusing enough that senior Maggie Kearin attends Louisville High in Woodland Hills and will soon attend the University of Louisville in Kentucky on a full scholarship.
Let’s forget about the two Louisvilles for a moment. Did you know she has a scholarship awaiting her based on her skills in field hockey? And the high school she attends doesn’t have a field hockey team.
She earned the offer based on her play in club field hockey. At Louisville High, she’s perfectly happy playing volleyball and soccer when outsiders have no idea she’s one of the top field hockey players in Southern California.
Her father is Jeff Kearin, the former Loyola High and Cal State Northridge football coach who’s the JV football coach at Crespi and has been transporting her for years to competitions. He consulted with others about whether Maggie should go to a high school that has field hockey, and they told him being good in several sports will help her versatility in field hockey.
Maggie has been playing the sport since she was 5.
“She came home one night from a sleepover, ‘I want to play the game with a stick.’ I thought it was lacrosse,” her father said.
Now she has a way to pay for her college education. “No one is happier than Mom and Dad,” her father said.
This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].
Los Angeles County is poised to pay out an additional $828 million to victims who say they were sexually abused in county facilities as children, months after agreeing to the largest sex abuse settlement in U.S. history.
The award, posted on the county claims board agenda Friday, would resolve an additional 414 cases that were not included in the $4-billion sex abuse settlement approved this spring. Both the supervisors and the county claims board will need to vote on the payout before it is finalized.
The record $4-billion settlement covered more than 11,000 people, who say they were abused inside county-run juvenile facilities and foster homes as children. The individual payouts will range from $100,000 to $3 million.
The newest payout would break down to an average of roughly $2 million per person. It involves cases from three prominent law firms: Manly, Stewart & Finaldi, Arias Sanguinetti Wang & Team, and Panish Shea Ravipudi.
The firms declined to comment on the potential settlement until the vote by the Board of Supervisors.
The announcement follows reporting by The Times that found nine plaintiffs who say they were paid by recruiters to sue the county over sex abuse. Four of them have said they were explicitly told to make up claims. All had lawsuits filed by Downtown LA Law Group, or DTLA.
The firm has denied any involvement with recruiters who allegedly paid plaintiffs to sue. DTLA said previously it would never “encourage or tolerate anyone lying about being abused” and is conducting new screenings to remove “false or exaggerated claims” from its caseload.
The county said any claims brought by DTLA will undergo an additional level of review before payments are made, citing reporting by The Times. The extra screening “may require plaintiff interviews and additional proof of allegations,” the county said.
DTLA did not immediately respond to a request for comment Friday.
The exterior of Downtown LA Law Group’s offices in Los Angeles.
(Carlin Stiehl / Los Angeles Times)
Supervisor Kathryn Barger, who recently launched an investigation into the $4-billion settlement following The Times’ reporting, said the vetting will ensure “money goes only to the true victims of abuse.”
“Our settlements balance our obligation to compensate victims and treat their experiences with compassion with the need to put strong protections in place to protect taxpayers from fraud,” she said.
County Counsel Dawyn Harrison says she wants to see the law changed so “unscrupulous lawyers don’t get windfalls at the expense of survivors of abuse.”
“The conduct alleged to have occurred by the DTLA firm is absolutely outrageous and must be investigated by the appropriate authorities,” said Harrison. “Not only does it undermine our justice system, it also deprives legitimate claimants of just compensation.”
All cases will be reviewed by retired judges before the money is allocated, the county said.
If a judge believes a claim is fraudulent, the plaintiff will not get any money, the county said Friday. The county’s original plan stated that if the county found a fraudulent claim, the plaintiff could be offered $50,000 to resolve it or remove the case from the settlement so that it could be litigated separately.
The flood of claims was unleashed with the passage of Assembly Bill 218 in 2020, which changed the statute of limitations and gave survivors a new window to sue their abusers. Since then, school districts and governments have faced many decades-old claims, for which they say there are no longer records kept on file to allow for vetting.
Dominique Anderson, pictured above around age 11, is among the plaintiffs who sued the county for alleged sexual abuse and would stand to receive payouts as part of a new settlement announced Friday.
(Courtesy of Dominique Anderson)
County supervisors have been increasingly critical of the law, which they argue has left them defenseless against claims dating back to the 1950s. If the supervisors approve the new settlement, the county will have paid out nearly $5 billion in child sex abuse lawsuits this year — with more to come.
The county is still facing an additional 2,500 cases, which they say will further strain the region’s social safety net. The county recently required most departments trim their budgets to pay for the $4-billion settlement.
“L.A. County and other local governments must balance their obligations to past victims with the need to avoid ruinous financial impacts,” said acting Chief Executive Joe Nicchitta.
A curse befell Jacob Elordi when he was a child. It happened in the aisle of a Blockbuster Video. The culprit for the incantation was the image of the now emblematic Pale Man from “Pan’s Labyrinth,” flaunting eyes on his palms on the back cover of the DVD.
“My mother remembers this,” an energetic Elordi tells me in a Hollywood conference room. “I came running through the corridor and I was like, ‘I need this DVD.’ And she was like, ‘That’s so much blood and gore. You can’t watch it.’”
“She told you, ‘I’ll get it if you promise never to work with that director,’” Guillermo del Toro, the filmmaker behind the Oscar-winning dark fantasy, chimes in, sitting next to Elordi.
His wish granted, Elordi watched “Pan’s Labyrinth” at a young age. The fable set against the Spanish Civil War forever changed him. “From that moment, because of the way that Guillermo wills magic into the world and into his life, I feel like there was some kind of curse set upon me,” the actor says. “I do genuinely believe that, as out there as it sounds.”
Now, Elordi, 28, has become one of the Mexican director’s monsters in his long-gestating adaptation of Mary Shelley’s “Frankenstein” (in theaters Friday, then on Netflix Nov. 7). Under intricate prosthetics and makeup, Elordi plays the Creature that arrogant scientist Victor Frankenstein (Oscar Isaac) breathes life into — an assemblage of dead limbs and organs imbued with a new consciousness.
Elordi with writer-director Guillermo del Toro on the set of “Frankenstein.”
(Ken Woroner / Netflix)
Receptive to tenderness but prone to violence, the nameless Creature now has, in Elordi, a performer suited for all its unruly emotions. “It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and prosthetics designer Mike Hill. “The Creature could snap on a dime like an animal.”
Capable of complex thought, Del Toro’s version of the monster ponders the punishment of existence and the cruelty of its maker. “They’re almost like John Milton questions to the creator,” the director says of the Creature’s dialogue. “You have to give it a physicality that is heartbreakingly uncanny but also hypnotically human.”
The imposingly lanky, gracefully handsome Elordi, born in Australia, has risen in profile over the last few years, thanks to roles in the hit series “Euphoria” and the psychosexual class-climbing thriller “Saltburn.”
“It came from some other place,” Elordi says about the pull to the role of the Creature. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing.”
(Bexx Francois / For The Times)
“Frankenstein,” however, seems to have been calling his name for a long time.
“Early in my career, I had been reading what folks on the internet would say about me and someone had written after my first film, ‘The only thing this plank of wood could play is Frankenstein’s Creature. Get him off my screen!’” Elordi recalls. “I went, ‘That’s an absolutely fantastic idea.’”
The thought reentered Elordi’s mind while making Sofia Coppola’s 2023 “Priscilla,” in which he played a moody, internal Elvis Presley to Cailee Spaeny’s title character. Long before he was offered the part, the hair and makeup team on “Priscilla” shared with him their next job was, in fact, Del Toro’s “Frankenstein.”
“I looked at [hair designer] Cliona [Furey] and I said, ‘I’m supposed to be in that movie.’ And she said, ‘Did you audition?’ And I was like, ‘No, but I’m meant to be in that movie.’”
“It came from some other place,” Elordi further explains. “It felt like a growth, like a cancer in my stomach that told me that I had to play this thing. I’ve heard stories about this from actors, and when you hear them, you kind of go, ‘Sure, you were meant to play this thing.’ But I really feel like I was.”
Due to scheduling conflicts, Andrew Garfield, originally cast as the Creature, dropped out in late 2023. With production set to start in early 2024, Del Toro had limited time to find a new actor. When Elordi finally heard he was being considered, he had to read the screenplay within hours of receiving it, and be willing to dive into the darkness.
“I had a few weeks to prepare, but I was lucky to have also had my whole life — and I mean that sincerely,” he says, a grin crossing his face. “Playing this was an exploration into a cave of the self, into every experience with my father, with my mother, my experience with cinema, my scraped knees when I was 7.”
Del Toro says he knew Elordi would make the perfect Creature from speaking with him over Zoom. He remembers immediately messaging Isaac, his Victor, convinced that Elordi could play both “Adam and Jesus,” which are the two facets that the creature represents for the director.
Jacob Elordi as the Creature in the movie “Frankenstein.”
(Ken Woroner / Netflix)
“I don’t think I’ve experienced miracles many times in my life,” Del Toro says. “And when somebody comes to your life in any capacity that transforms it, that happened here. This man is a miracle for this film.”
As he typically does for all the actors in his films, Del Toro sent Elordi several books ahead of working together. Elordi’s deep-dive reading list included the bedrock Taoist guide “Tao Te Ching,” Stephen Mitchell’s well-regarded translation of the Book of Job and a text on the developmental stages of a baby.
The most complex element of the performance, Del Toro believes, is playing “nothing,” meaning the blank, pure state of mind of a living being in infancy. “A baby is everything at once,” Elordi says. “It’s deep pain, deep joy, curiosity. And you don’t have chambers for your thoughts yet.”
Right before “Frankenstein,” Elordi had been shooting Prime’s World War II miniseries “The Narrow Road to the Deep North” in Australia, an experience he describes as “grueling,” one that involved losing substantial weight. He repurposed his body’s subsequent fragility as a dramatic tool.
“My brain was kind of all over the place,” he remembers. “I had these moments of great anguish at around 3 a.m. in the morning. I’d wake and my body was in such pain. And I just realized that it was a blessing with ‘Frankenstein’ coming up, because I could articulate these feelings, this suffering.”
Aside from being an outlet for his exhaustion, the transformation also helped Elordi to recalibrate. “Frankenstein” arrived at a time where he found himself wrestling with a crisis of purpose.
“At that time in my life I really wanted to hide,” Elordi says. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies,” Elordi says. “And when the film came along, I remember being like, ‘Ugh, I really wanted to go away right now.’ And I realized immediately the Creature was where I was supposed to go away to. I was supposed to go into that mask of freedom.”
Was he trying to escape the pressures of dawning fame? Elordi says it was much more philosophical than that.
“Who do I think I am? Who do I present myself as? What do I like? What don’t I like? Do I love? Can I love? What is love? Every single thing of being alive,” he says with a radiant smile. “The unbearable weight of being.”
“At that time in my life I really wanted to hide,” Elordi says of the moment just before taking on Del Toro’s version of the classic. “I really wanted to go away for a while. I was desperate to find some kind of normalcy and rebuild the way that I acted and how I approached making movies.”
(Bexx Francois / For The Times)
The part entailed physically burying himself in another body. It allowed Elordi to renounce any hang-ups, surrendering to a fugue state of mind. Every moment felt like a discovery.
“I was liberated in this makeup,” he adds. “I didn’t have to be this version of myself anymore. In those six months, I completely rebuilt myself. And I came out of this film with a whole new skin.”
Elordi sat for 10 hours in the makeup chair on days that required full body makeup — only four if they were only shooting the Creature’s face. “Jacob wanted to wear the makeup and he knew it would be grueling,” Hill says.
“It was nothing short of a religious experience,” Elordi says. “The excitement I had even just getting my body cast — I was buzzing.”
Hill believes that the decision to make the Creature bald for the scenes where he is a “baby” is what makes Del Toro’s take unique within the “Frankenstein” mythos.
“Instead of what happens in cloning where a baby grows, Victor literally did make a baby, just a big one,” says Hill. “The Creature learns quickly because its brain and its bodies have already lived once. God knows what this Creature knew before he forgot and needed to be reminded.”
As for the skin, Del Toro envisioned a marble-statue look that he had been pursuing in earlier movies like “Cronos,” “Blade II” and “The Devil’s Backbone.”
“Mike took it and made it incredibly subtle: flesh with the violets and the purples and the pearlescence,” Del Toro says. “He bested every concept I’ve ever imagined by making it look like parts of exsanguine bodies. That was so brilliant.”
“It was the innocence in Jacob’s portrayal that kept getting me,” says makeup artist and creature designer Mike Hill, here seen working on a model for “Frankenstein.”
(John P. Johnson / Netflix)
A Frankenstein’s monster with rainbow-colored flesh, Hill says, could only exist in the context of a Del Toro picture.
“He had to look beautiful, like a phrenology head or an anatomical manual,” Del Toro adds. “We agreed — no scars. No sutures. No vulgarity.”
Del Toro’s casting of Elordi was fully validated when the actor walked on set for the first time in full makeup. “The whole process was anticipation,” Elordi says. “And then I opened my eyes and he was looking back at me, and it was exactly what I thought it would be when I first read the screenplay.”
For Hill, it was watching Elordi doing an interview, where his limbs seemed loose and relaxed, that convinced him he was the right actor to sculpt the Creature on. “I was like, ‘Look at those wrists.’ And then he turns, and he has these lashes,” Hill says. “Big eyes are beautiful for makeup. And structurally, Jacob has an unassuming nose, so you can build on that.”
“And he has a big chin,” Hill continues amid Del Toro’s boisterous laughter. “I was like, ‘I’m not going to glue one on.’”
Amused at his anatomy being dissected in front of him, Elordi claps back, mock-defensively: “He was grotesque to look at, but he was somewhat gifted. A deformed skinny freak.”
By the time Elordi got out of the makeup chair, he says, the electricity in his body had shifted. He stepped on set physically depleted but in the ideal headspace to embody the creature as it navigates an inhospitable reality.
“He’ll forever be fused into my chemistry,” Elordi says. “He was always there and now I have a little place for him. But I can’t rationalize him.”
Whether by curse or by miracle, Elordi’s Creature lives. And the actor feels reborn.
What Luka Doncic did for his Lakers teammates was unique and different but no less impactful. It was a view inside the superstar guard’s way of leading the team.
In a team-building event Doncic organized, he took his teammates to a Porsche Driving Experience after practice Tuesday. He covered the entire cost of the event in which his teammates tested Porsche models on a track.
That so impressed Lakers center Deandre Ayton, bringing a smile to his face when asked about Doncic’s gesture.
“I truly appreciate Luka for that,” Ayton said. “I’ve never done that before, where the star players really look out for the team like that. Something like that is actually crazy. I’ve never heard of it or been in a Porsche before. So it definitely was my first time. I didn’t know that Luka was into cars like that. So, yeah, him and LeBron [James]. It was good seeing them behind the wheel. Seeing LeBron behind a car is dangerous.”
At 7 feet, Ayton was asked if he was comfortable driving the car.
“Yeah, they had some cars where they could hold a 7-footer,” he said. “I don’t know if it was custom or that’s how they’re made or some other factors. But just seeing LeBron James in a sports car pushing, I was like, ‘Yo, he knows cars.’ Him doing his thing, that was pretty cool to see.”
All summer and during training camp, the Lakers have talked about building team chemistry.
They talked about how doing things together off the court is an important part of building chemistry and of learning about a teammate.
Doncic, along with James, is considered one of their leaders and this was seen as magnanimous.
“Yeah, I mean, anytime, some of our max players and guys that have been in the league a while can put something on for the team is great,” Gabe Vincent said. “It’s great when we come together, do something a little bit more extravagant maybe than we would have on our own. Everyone gets to walk away with some cool [stuff].
“Most importantly, you get to do it together, you know what I mean? Sharing experiences is one of the quickest ways to grow closer. So, we’re very grateful to Luka for putting that one on. Everyone had a great time. It’s been great to see him get more comfortable.”
Vincent also did his part in a team-building moment.
Over the summer, he invited his teammates to the sand dunes in Manhattan Beach.
It was his show of leadership after so many workouts and his way to help build that team chemistry.
“So, I tried to just get guys together, most of them were young guys, but just get out on the sand, play a little spike ball, and work down the sand a little bit,” Vincent said. “It’s something to get out of this [practice facility] building, you know what I mean? In the summer, we spend so much time in the gym, grinding at the same thing over and over that sometimes you kind of need a change of scenery. So it’s something for us to do that was different, something for us to do together. We had a good time with it.”
Ayton getting more comfortable
After two preseason games and several more practices, Ayton is starting to get more comfortable with his role inside the Lakers’ offense.
He took more shots in the second game against the Warriors, making three of eight from the field, than in the first game against the Suns, missing both shots, and he scored more points against the Warriors (seven) than against the Suns (two). He blocked two shots in each game and has a total of 15 rebounds.
“How comfortable am I getting? Um, real comfortable, to where I am starting to know their plays and where the screens are and in general, Lakers terms and Lakers basketball,” he said. “So, it’s becoming quite easy just to read the floor and what [Lakers coach] JJ [Redick] likes and what he wants us to be known as, especially going into our rhythm offense and transition offense. So, yeah, the terminology and everything is starting to be easy and I feel in control on each end.”
UCLA’s five-member search committee for its next football coach that was revealed Thursday features heavy hitters from various corners of the professional sports world, including two who helped engineer a quick turnaround with the NFL’s Washington Commanders.
Commanders general manager Adam Peters and adviser Bob Myers — who will be joined on the committee by sports executive Casey Wasserman, former NFL star linebacker Eric Kendricks and UCLA executive senior associate athletics director Erin Adkins — were part of the team that hired Washington coach Dan Quinn, who took the Commanders to the NFC Championship Game in his first season.
They will hope to have similar success in selecting the successor to Bruins coach DeShaun Foster, who was fired earlier this month after his team started the season with three consecutive losses. Every member of the committee will be driven to find a winner given they either graduated from UCLA or work for the school’s athletic department.
“I want to thank the members of the search committee who have, out of their love for UCLA, agreed to contribute their time and expertise to this process,” Bruins athletic director Martin Jarmond, who will head the committee, said in a statement. “We will identify, recruit and invest in a leader who has the vision, the confidence, the attitude, and the proven ability to return UCLA football to national prominence, and we will provide the resources to compete and win at the highest level. That’s our commitment to our alumni, fans and supporters.”
One prominent figure with strong UCLA ties missing from the committee was Troy Aikman, the former Bruins quarterback and Pro Football Hall of Famer who was part of the committee that in 2017 landed Chip Kelly. That hiring of the hottest coaching candidate on the market was considered a coup, even if Kelly’s results in the six seasons that followed were largely disappointing.
The only holdover from the committee that hired Kelly is Wasserman, a UCLA megadonor who is also the founder and chief executive of the eponymous sports and media talent agency.
After Kelly left the Bruins in February 2024 to become Ohio State’s offensive coordinator, Jarmond used an internal search committee consisting of athletic department employees — including Adkins, who heads the department’s name, image and likeness strategy and initiatives — to select Foster in less than 72 hours.
UCLA will have considerably more time to select its next coach given that most hires are made in December.
Myers, a reserve forward on the Bruins’ last national championship basketball team in 1995, hired Steve Kerr in his role as general manager of the Golden State Warriors. The Warriors have won four NBA titles under Kerr, who was also selected the NBA’s coach of the year during the 2015-16 season.
After leaving the Warriors in 2023, Myers has worked as an ESPN basketball analyst and was appointed to the board of the University of California regents. Myers also assisted Peters, a former defensive end for UCLA’s football team, in the coaching search that landed Quinn.
Before he joined the Commanders, Peters enjoyed a successful career as vice president of player personnel and assistant general manager with the San Francisco 49ers, helping the team appear in four NFC Championship Games and two Super Bowls over his seven seasons with the franchise.
The youngest member of the committee is Kendricks, the former Butkus Award-winning linebacker with the Bruins who is currently a free agent after 10 NFL seasons that included a Pro Bowl appearance in 2019.
UCLA said it would have no additional comment on the search or candidates until a hire is announced.
STRICTLY Come Dancing is already in a fix row midway through the launch show.
The complaints from fans come after one of the star’s YEARS of dance experience was revealed.
EmmerdaleactorLewis Cope isn’t just good at acting, because he is an experienced dancer too.
He previously competed in a dancing world championship final three times.
The soap hunk has been dancing since the age of 10-years-old and has appeared on TV before.
Reacting to Lewis’ prior dancing experience, one fan said: “I need lewis to stop pretending he’s not a trained dancer.”
“Another Billy Elliot ex-pro dancer. tut tut,” penned a second.
A third then wrote: “Just give lewis the trophy now. He looks the part without seeing him move.”
While a fourth said: “Lewis is such a natural mover. His theatre experience will really help him as well. He’s definitely making that final I can feel it.”
“How will Lewis Cope on the dancefloor? I reckon he’ll be just fine,” said a fifth.
A sixth then penned: “the way lewis is blatantly gonna win is p***ing me off.”
While a seventh said: “So lewis is a dancer.”
Lewis previously spent eight years in the dance group, Ruff Diamond who were runners up in Sky TV’s Got to Dance competition.
Nestled in the Kathmandu Valley, Nagarkot Community Homestay Network is a cornerstone for building businesses. It enables women to grasp financial independence by opening up their homes to tourists. It was an enriching cultural experience for both me and my host. Their support of each other spilled over during my stay, in their warmth, delight and genuine desire to share and learn. Vicky Bamford
Fishing conservation in Mexico
Scuba diving in Mexico. Photograph: Chris A Crumley/Alamy
I had the trip of a lifetime in Mexico and out in the Pacific, diving with some incredible creatures. We funded – and were joined on the trip by – two young women who were learning to dive with a charity called Héroes del Mar, which works with Mexican young people in fishing communities to raise awareness of conservation and how it can go hand in hand with fishing as an economic lifeline for rural areas. They should be able to gain a career in conservation, train the next generation in their community and ensure fishing benefits communities and wildlife. Holly
Dolphin-watching in East Sussex
Dolphins can be spotted on boat trips from Brighton and Newhaven. Photograph: Callum Leyden/Alamy
Sussex Dolphin Project runs some fantastic boat trips from Newhaven and Brighton marinas, including a wildlife sailing experience and a sunset cruise, on which you may be lucky enough to see dolphins. Trips are from £30 for adults and £19 for children. The Trust focuses on education, training and citizen science in the local community. Ayesha Twyman
Profile
Readers’ tips: send a tip for a chance to win a £200 voucher for a Coolstays break
Show
Guardian Travel readers’ tips
Every week we ask our readers for recommendations from their travels. A selection of tips will be featured online and may appear in print. To enter the latest competition visit the readers’ tips homepage
–
Giving peace a chance, worldwide
Asturias in north-west Spain, one of many places where members of Servas can connect. Photograph: Alfonso Sangiao Delgado/Alamy
Not one trip but many – like thousands of others across the world, we are members of Servas, set up in 1949 as a volunteer-run NGO to build international friendships, and promote peace and understanding. We have learned about urban ecology in Nantes, self-sufficiency in Asturias and what it was like to live in Ceaușescu’s Romania, and met like-minded people who have become friends. We have also welcomed visitors from all over the world. Others who travel more widely than we do tell us about warm welcomes and fascinating experiences all across the globe. Barbara Forbes
Time for tea in Sri Lanka
Tea workers in Sri Lanka. Photograph: Robert Harding/Alamy
In the mountains on the outskirts of Kandy sit the lush hills that host the plantations of this famous tea-growing region. We visited our female hosts as they finished their eight-hour shift, for which they earn £20 a week for working six days and carrying 20kg a day on their backs. We visited their home close by, where we mixed spices, cooked our dinner and enjoyed a typical evening with several generations of the family. A truly authentic experience, steeped in the local culture, with our payment supporting and benefiting the entire community. Julie Fell
A small village in mainland terms, Carloway runs an annual agricultural show which attracts about 2,000 visitors to what is now the best window on crofting in the Western Isles. It’s located on the western fringe of Lewis, the most northerly island in the Outer Hebrides. The mixture of fete, Highland games, baking and fruit-and-veg competitions with best sheep, dog, horse and cattle show is all run by local volunteers. Held on the first Wednesday in August, it also has ceilidhs and Highland dance events through the week. There’s a community-owned shop, self-catering and bunks (Garenin village) – and it’s only a few miles from the world-famous Callanish or Calanais standing stones. You have to pinch yourselves at the privilege of listening to superb Gaelic singers while supporting their culture and community. Foster Evans
Winning tip: Local hosts on an Alpine hike in Italy
Remote villages in Italy benefit from hikers taking on the 500-mile Grande Traversata delle Alpi. Photograph: Fabrizio Robba/Alamy
We completed three weeks of the Grande Traversata delle Alpi, an 800km (500 mile) long-distance trek in the Italian Alps. It was conceived as an economic regeneration project in the 1970s to join up and provide tourism to tiny villages with ageing populations and declining industry. In each location, one or more providers elects to supply overnight accommodation and food to hikers; as a result the variety in our stays was immense. It cost €60-70pp pn for half-board, sometimes less in dormitories. It’s a very quiet trail compared with many in the Alps, and we often had it to ourselves. Villagers are really friendly and we enjoyed some delicious local food, always at least three courses, with vegetarians fully catered for. Samantha McGrady
I am sitting in a tent placed inside the parlor of a Victorian-era house. Before me lies a spirit board, a lone tarot card and a black scrying mirror. I am here to commune with the dead.
There is no medium. It is only myself and eight other attendees— our guide has left the tent. Though earlier we could hear tension-rattling music setting a cryptic mood, now there is nothing. Lights? Off. The tent has gone pitch black. At this particular moment, there’s only the sound of our breaths, our thoughts and perhaps some new guests.
Welcome to “Phasmagorica,” what composer-turned-magician-turned-spiritual explorer BC Smith describes as “a séance reimagined as art.” It’s running this month at the Heritage Square Museum, itself a location imbued with history and mystery, the site of the homes of Los Angeles as they existed a century ago.
I’ll get right to the point: I did not have an encounter with the dead. And yet I left “Phasmagorica” deeply curious. That’s because Smith sets up the evening as an exploration of the modern Western history of communing with the deceased, attempting to conjure the feeling of a séance as it occurred in late 1880s America, albeit with a better sound system and all the Death in the Afternoon cocktails you can consume (note: you should not consume very many).
The “experiment” — Smith shirks at the word performance — is designed, he says, for believers and nonbelievers. He himself falls somewhere in the middle.
“I’m a hopeful skeptic,” Smith says. “If I were a 100% believer, ‘Phasmagorica’ would be a church. I just wanted to create a space that started a conversation for people.”
It is relevant to point out that Smith is also a magician, a member of the Magic Castle, home itself to a popular séance. While Smith has not conducted a Magic Castle séance, he has — and will — orchestrate what he refers to as a “theatrical séance,” for which he is present as a storyteller. “Phasmagorica” is different, Smith says, and was born out of those more dramatic performances, in part because he kept encountering the unaccountable.
“It’s highly curated,” Smith says of a core difference between a theatrical séance and “Phasmagorica,” as the former will be tailored specifically to guest needs and requests. “But people were experiencing a lot in those séances that I could not explain,” Smith says. He recites a story that opens “Phasmagorica” of a shadow reaching out and touching someone on a shoulder. Smith says he witnessed this phenomena, and at that point decided to create an event that focused on realism and dispensed with the notion that there could be any illusions or magic.
BC Smith’s “Phasmagorica” is not a theatrical or magic performance. The event aims to recreate the feel of a vintage séance.
(Roger Kisby / For The Times)
I was surprised, for instance, when Smith left the room. At that point, we were with only a television, which narrates a short history of séances in America before instructing us to hold a pendulum over a spirit board. Knowing Smith’s past, I went in expecting more of a show. Instead, we are prodded to examine a tarot card, peer into the scrying mirror and ask questions to our spirit board.
“It becomes more personal,” Smith says. “Even in my theatrical séances, I’ve had people want to cut me off mid-sentence and say, ‘This just happened to me.’ And they want to spend the next five minutes talking about it. At the end of the day, I think what people like is that this is all about them.”
And still, Smith says, audiences are looking for wizardry. But there’s no tricks of the light, no hidden fans. He stresses multiple times in this interview and at the start of “Phasmagorica” that this is “not theater, not a performance, not a show.”
“I’ve had people walk out of the room and swear there was a magnet in the pendulum board,” he says. “Or swear there was some effect that made them see a person standing. People still have an explanation that I had something to do with it. Whatever helps you sleep with the light off.”
While numerous cultures and spiritual movements have throughout history long attempted to commune with the dead, a séance, says Lisa Morton, author of “Calling the Spirits: A History of Séances,” is a relatively recent occurrence. She and Smith trace their popularity to the Fox sisters, Kate and Maggie, who performed to packed crowds in the late 1880s in New York, attempting to demonstrate that spirits could speak via a series of raps on the walls.
BC Smith calls “Phasmagorica” an “experiment,” shirking at the word performance.(Roger Kisby / For The Times)
Prior to the Fox sisters, Morton says, attempts to commune with the beyond, broadly speaking, were a more personal and ritualistic affair. “The Greeks believed that sleeping on a grave might give you dreams in which you communed with a spirit,” she says. Popular myths, too, would portray the practice as borderline arcane. In Homer’s “The Odyssey,” for instance, a bridge to the spirit world is reached only after a complex series of sacrifices and offerings — a potent mix of sweet wine and the blood of a lamb.
“The séance comes along, and not only is it a group activity, but it suggests that anyone can communicate with the spirits of the dead,” Morton says. “You just need a medium — someone who can enter a trance state and open themselves to receiving spirit communications. It was done with a group, and in the comfort of someone’s home. Those were startlingly new ideas.”
Morton has taken part in Smith’s “Phasmagorica.” She, too, appreciated the historical emphasis, specifically the way a musician performs after the séance as guests mingle with one another and share their experience. Music was a big part of early séances, Morton says.
“People would sit around a table and the lights would be lowered and they would sing,” Morton says “Now, singing did have a scammy double purpose, as they allowed the medium to start doing things in the dark unheard. But these evenings were wondrous for people, and I thought that was what BC Smith captured really well.”
“Phasmagorica” has been running on select weekends at Heritage Square since the late summer. Smith intends to continue adding events throughout the fall as his schedule allows, announcing them on Instagram. Though intimate, they do typically sell out. It’s traveling via word of mouth, theorizes Smith, because people today are increasingly searching for “connection and meaning.”
Heritage Square Museum is itself a location imbued with history and mystery, the site of the homes of Los Angeles as they existed a century ago.
(Marcus Ubungen / Los Angeles Times)
“The experience is really up to you,” he says. “I think we’re all searching for something. This is a safe space to explore.”
Late in life, Maggie Fox denounced the spiritualism movement that she and her sister Kate had helped start, demonstrating the ways in which they had fooled their audiences. Smith again stresses that he himself is a “hopeful skeptic,” and purposefully stays out of the experience so that guests aren’t trying to figure out if he’s holding onto any secrets.
And yet he says, “Phasmagorica” has permanently changed him. He notes that his wife is a commercial airline pilot and must travel often.
“When she’s away, I sleep with a night-light,” he says. “Maybe that’s the answer to the question whether I believe or not.”
A couple who travelled to Universal Studios in Japan were left stunned after arriving at the theme park and seeing the Super Nintendo World, with thousands of others left in awe since watching the clip
Jess Flaherty Senior News Reporter
16:49, 16 Sep 2025
There’s several Universal Studios across the globe, but one destination left a couple gobsmacked (stock image)(Image: AiMuse via Getty Images)
Universal Studios operates five locations worldwide. Its original theme park was the legendary Universal Studios Hollywood, which remains popular today. It was quickly followed by venues in Florida, Japan, Singapore and Beijing.
The venue first opened to visitors on March 31, 2001, becoming the inaugural location to launch beyond the United States.
On its website, it states: “Our theme park appeals to children and adults of all ages, and covers a wide spectrum of entertainment based on blockbuster Hollywood movies, from thrilling rides to shows featuring popular characters.”
It’s also the location of the impressive Super Nintendo World, featuring enormous, full-scale reconstructions of the buildings and various levels made legendary in the beloved Super Mario and Donkey Kong franchises.
Claudia and Liam, a travel-loving couple who share their adventures online as the Cotswold Wanderers, recently embarked on a trip to Universal Studios in Japan. The sight of Super Nintendo World left them speechless.
In a TikTok video, the pair are seen with their mouths wide open in awe, as the camera reveals what they’re looking at: the spectacle of giant, brightly coloured buildings that have become iconic through video games worldwide.
Content cannot be displayed without consent
The caption accompanying the clip read: “Just two 20 something year olds that have dreamed of seeing this in real life.”
Their video resonated with thousands of social media users, amassing over 246,000 likes, 42,900 shares, 28,700 saves and more than 1,000 comments.
One gobsmacked viewer commented: “Oh my gosh that’s mad.”
Another said: “Another reason why Japan is a much better place to live than here,” while a third admitted: “I’m 42! Grew up playing Mario, even I’m gobsmacked! Would love to visit one day.”
A fourth user said: “Yeah it’s unbelievable it’s like you have gone into the dimension.”
Others expressed their desire to visit, with one saying: “I will go to Japan just for this” and another agreeing: “I really wanna go.”
One person praised the creativity, saying: “This is so creative!” Another simply stated: “It is a dream.”
And yet another added: “Omg Japan is most definitely on my list now.”
One user shared their personal motivation: “I wanna gooooo! I wanna heal my inner child!!!”
While another succinctly summed up the general sentiment: “Wow!! Need to go.”
Donna Farizan, a “Today” contributor, announced her departure from the NBC morning show during Monday’s “Today With Jenna and Friends.”
“A year ago, I launched a series called ‘Own Your Power,’ where I challenged myself to speak my truth,” Farizan told co-hosts Jenna Bush Hager and Savannah Guthrie. “And now, after 12 years with ‘Today,’ I’m challenging myself to spread my wings beyond the show to see what new and exciting opportunities await me professionally.”
Farizan, 34, then read a letter she wrote to herself reflecting on the experiences and lessons she gained during her time on the show.
“The world of TV and content can sometimes feel overwhelming because there is no road map,” she said as highlights from the last 12 years played. “But I am so grateful to have gone to the school of Kathie Lee Gifford, the school of Hoda Kotb and the school of Jenna Bush Hager, because now it’s time for me, Donna Farizan, to create my own map.”
Farizan, who joined “Today” as an intern when she was 20, became a full-time contributor after graduating from George Washington University in Washington, D.C.
Throughout her “Today” career, she hosted game segments and, through her segment “Own Your Power,” told stories of people realizing their capabilities. Farizan often shared personal experiences on the show or through essays written for Today.com, where she wrote about freezing her eggs.
The show’s staff joined Farizan, Hager and Guthrie onstage to bid their contributor farewell.
Farizan thanked Hager for teaching her that being herself is enough and told Guthrie that she was one of the reporters she studied for her senior thesis in college.
Before signing off, Farizan thanked the viewers for growing up with her and for being a constant of the show.
When tourism genuinely involves local communities it’s a win for all parties – guests enjoy more authentic experiences while the livelihoods of those they are visiting are boosted. We’d love to hear about initiatives you’ve sampled that support grassroots projects and communities – perhaps it was through a homestay programme, a community-run pub or cafe, or an indigenous tour guide keen to provide an insight into local culture. Tell us about where you went and those involved.
The best tip of the week, chosen by Tom Hall of Lonely Planetwins a £200 voucher to stay at a Coolstays property – the company has more than 3,000 worldwide. The best tips will appear in the Guardian Travel section and website.
Keep your tip to about 100 words
If you have a relevant photo, do send it in – but it’s your words we will be judgingfor the competition.
We’re sorry, but for legal reasons you must be a UK resident to enter this competition.
The competition closes on Monday 8 September at 10am GMT/BST
You can send in your best tip by filling in the form below.
Your responses, which can be anonymous, are secure as the form is encrypted and only the Guardian has access to your contributions. We will only use the data you provide us for the purpose of the feature and we will delete any personal data when we no longer require it for this purpose. For true anonymity please use our SecureDrop service instead.
If you’re having trouble using the form click here. Read terms of service here and privacy policy here.
Want to get Generation Alpha into movie theaters? Look to video games.
Kids still like to go to the movies, according to a high-profile new research report. But the franchises they care about are not the traditional Hollywood popcorn fare.
Seven of the top 10 entertainment franchises that the youngest generation of moviegoers cares about are video game properties, according to a recent study by National Research Group (NRG).
The top five titles that Gen Alpha kids, generally considered to be those ages 12 and under, say they talk most about were Roblox, “Minecraft,” “Fortnite,” “Grand Theft Auto” and “Pokémon,” all of which originated from the world of video games. The highest-ranked non-video game property was Marvel and Walt Disney Co.’s “The Avengers,” at No. 6.
Studios have started to catch on. Spring’s “A Minecraft Movie,” based on the popular game where users build and explore different worlds, was such a huge success. The film, adapted by Warner Bros. and Legendary Entertainment for the big screen, grossed $955 million at the global box office, according to Comscore. Young fans packed the theater, cheering during scenes important to gamers.
“Gaming is a deeply important part of Gen Alpha culture because it provides an essential venue for socialization,” said Fergus Navaratnam-Blair, NRG’s vice president of trends and futures. “Social gaming platforms like Roblox and Fortnite give them the opportunity to spend time with their friends, build communities, and develop a sense of their own identity.”
That could present a shift in the way theaters and studios cater to Gen Alpha, a key demographic born 2013 onward, to their future survival. Compared with millennials and Gen X, a higher percentage of Gen Alpha members (38%) said they would see a movie in a theater instead of waiting for it to come to a streaming service if their friends were talking about it, NRG said.
Nearly 60% of Gen Alpha members said they enjoy watching movies in theaters more than at home, according to NRG, which surveyed more than 6,000 U.S. moviegoers in May and June of this year. The majority of kids surveyed ages 6-to-12 said the reason why they go to the theater is to spend time with friends and family and “to make seeing the movie feel like a special event,” according to NRG.
“We are seeing the signs within this demographic that they do really value the experience of watching movies in theaters,” Navaratnam-Blair said. “The fact that they have grown up surrounded by phones, tablets, other sorts of devices, if anything, that seems to have made them more appreciative of the opportunities that they do get to switch up from all of that.”
Stories that resonate with Gen Alpha can come from franchises they are already familiar with, like “Minecraft,” or ones such as “Wicked” that inspire them to create fan fiction or show off their fandom by dressing up like the characters, he said.
Already, studios are marketing their films to reach younger consumers on platforms they frequent including Roblox and TikTok.
Movie theaters can help cater to Gen Alpha by making the viewing an experience, such as selling food that is matched to what characters are eating on screen, Navaratnam-Blair said.
Younger audiences also can still be attracted to seeing a movie in a theater if it’s a special event that happens after the title has started streaming. For example, many people attended sing-along showings of the popular animated film “KPop Demon Hunters” in theaters even after streaming it first on Netflix. The sing-along version of the film was the No. 1 movie domestically during the weekend it was briefly in theaters, with an estimated $18 million in ticket sales.
“This is a generation that does offer hope for the future of theatrical moviegoing,” Navaratnam-Blair said. “We just need to understand what it is they’re looking for, that experience, and play into it in a way that gives them what they’re looking for out of that.”
When James Joyce first travelled from Dublin to Trieste in 1904, he went via Paris, Zurich and Ljubljana. Zurich, because he mistakenly believed a job to be awaiting him there, and Ljubljana because – groggy after the night train – he thought they’d pulled into Trieste. By the time he twigged, the train had departed and, without ready cash, Joyce and his partner Nora Barnacle had to spend a night on the tiles.
Preferring to travel by train, when I received the invite to be writer-in-residence at the James Joyce summer school in Trieste, I wondered if I might follow Joyce’s route. But repair work on Austria’s Tauern Tunnel prevented me from taking the exact route. Besides, today’s TGV tears through France at nearly 200mph, in comparison to the 25-60mph speeds at which Joyce would have navigated Switzerland and Austria. A night on the town in Milan is just as good for the muse.
Along the route from London to Trieste (and then by bus to Ljubljana), I considered the lineage of writers who traversed Europe in this way 100 years ago and how different their aesthetic, physical and emotional experiences must have been. And, importantly, what they would have seen. What we see from trains – and how we see it – reflects a century of profound social, economic and environmental transformation. Trains represent progress as much as they ever have, but – today – a different sort of progress.
Trieste, James Joyce’s home until 1915. Photograph: Dreamer4787/Getty Images
My journey got off to an eventful start when the Eurostar announced delays due to cable theft near Lille. Around 600 metres of copper cable were stolen overnight from the high-speed line. A testament to the proficiency of France’s railway workers, we arrived roughly on time in Gare du Nord, Paris. A station where Joyce penned a letter to his brother, observing: “I hate the bustle but the station has its own strange poetry, the sound of footsteps, the distant whistle of the steam engines, and the sudden clanging of the signal bell.” For those sounds of steam whistling, coal shovelling, bells clanging, currencies exchanging and porters calling, today we have digital chimes, polylingual announcements, and beeping ticket barriers. Across the city, fake bird sounds chirp throughout Gare de Lyon, intending to induce calm, but instead making people search overhead for the poor trapped birds.
Instead of the illustrated posters of the belle epoque, emblazoning the walls of the metro from Gare du Nord today are climate change equations from Liam Gillick’s artwork The Logical Basis, commissioned for the COP21 climate conference held in Paris in 2015. Honouring the climate models of Nobel prize-winning physicist Syukuro Manabe, Gillick’s work has been criticised for not explaining the equations, and so keeping the simple, crucial facts of climate change at a remove from the general public.
It still seems to be the case that we don’t understand our own impact on the climate crisis. Electrified trains allow us to travel with a fraction of the carbon footprint of air travel. I still fly but try to find alternatives when I can. Less mental and moral gymnastics are required when travelling by land or sea – especially while temperatures break all records. So trains are simply more relaxing … except financially.
Virginia Woolf, who travelled solo from London to Turkey by train when she was 24, wrote that “a traveller, even though he is half asleep, knows, looking out of the train window, that he must look now, for he will never see that town, or that mule-cart, or that woman at work in the fields, again”. Never mind that woman, to see any person working in the fields from a train window these days is unlikely. Instead of vibrant country villages (and the explosion of cities taking place in the early 20th century), we have urban sprawl and suburbanisation that would have been unimaginable in Woolf’s time. Instead of the diverse cereal and crop production of a century ago, today’s fertilised pastures of animal agriculture and vast tracts of land used to grow animal feed dominate European landscapes. The consequences of that are everywhere, from the overall temperature (France is 1.9C warmer than it was in 1900) and weather pattern changes, to soil degradation, polluted air and waterways, and biodiversity loss. But to know how radically the landscape has changed in just a few decades is to know to what degree it can change again.
James Joyce and his publisher, Sylvia Beach, in Paris in 1920. Photograph: Bettmann Archive
In the early 20th century, rail passengers would have witnessed the hydroelectric revolution, as water power in the Alps was being developed extensively. The construction of dams and reservoirs fundamentally altered alpine hydrology, creating the artificial lakes, dams, power lines and industrial infrastructure we’re used to today. One undoubtedly positive change in the past 100 years has been a significant effort towards reforestation. And while those forests are generally commercial – with about 80% classified as “forest available for wood supply” – natural forests and meadows are almost instantly possible with a shift towards a plant-rich diet, as just one example. And pastures might be replaced with solar or wind farms. Perhaps there’s something helpful in seeing where our energy comes from, so that we understand its impact. Writers took great courage in the hydroelectric revolution: it allowed them to reach the Alps by train. It represented progress, modernity and independence, as did the electric trains themselves.
For a period, rail became militarised, and trains were rerouted for troop movements and deportations, with civilians facing extreme delays, rationing and danger. Joyce fled his home in Trieste (then part of the Austro-Hungarian empire) during the first world war, as he was considered an enemy alien. At Feldkirch station in Austria, he narrowly escaped arrest. (His brother had already been separately arrested, in Trieste, and was detained until the end of the war.) He later told his biographer that “at Feldkirch station,” he “felt the fate of Ulysses was decided”. During the second world war, many writers and artists were among those who used Europe’s rail network to flee the Nazis.
When sniffer dogs boarded the TGV on the French-Italian border, and police demanded to see my passport and to know which bags were mine and the reason for my travel, I replied: “The James Joyce Summer School,” propping up my Books Upstairs tote bag and nodding at Ulysses on my tray table, which surely cast me as a bad spy. Before the first world war, passports and visas were rarely required within western Europe. After the war, this changed, and border stops were far longer and more frequent, to allow for paper checks.
But if Joyce carried a passport in 1904, it would have been a British one, with him being classified as a British subject. I was surprised to discover that Joyce repeatedly rejected the opportunity to obtain an Irish passport, post-independence. I knew from reading his work that he spurned narrow nationalism, embracing a cosmopolitan and diverse European modernism. But to reject an Irish passport was to limit his practical freedoms. Samuel Beckett’s Irish passport allowed him to stay in France and take part in resistance activities. Spending the vast majority of their lives on the continent, they both strongly identified as European. Europeanness is surely defined – even today – more by train travel than by anything else.
Caoilinn Hughes’s journey to Trieste.
Despite Frantz Fanon brilliantly immortalising a racist incident on a train in France in his book Black Skin, White Masks, rail travel in Europe has been a sanctuary from racial prejudice for many, like Jamaican-American writer Claude McKay andpoetLangston Hughes. Hughes wrote of the freedom from segregation and ostracisation on Soviet Union trains in particular: “No Jim Crow on the trains of the Soviet Union”. He travelled to south central Asia on the Moscow-Tashkent express, a journey which Russia’s war on Ukraine prevents today – largely cutting off the entire eastern world from Europeans who don’t fly.
Trains have been for many artists a mode of escape as well as a means of belonging. They are communal and sustainable, and they cannot but make us more considerate. Post-Covid, there is something consoling in the quiet companionship of trains. Well, not always quiet, but writers spend so long alone in caves (with our characters), it does us good to remember that real people exist, with all their tuna sandwiches and taking off of shoes.
Virginia Woolf, who wrote of the impermanence of life as seen through a train window. Photograph: Album/Alamy
Class segregation is less stark today than in the 20th century’s first-, second- and third-class carriages. Today’s first and second classes are largely differentiated by seat size, phone-charging facilities, and the occasional cufflink. In place of Edwardian plush velvet upholstery and decadent dining cars, today we enjoy scratchy, synthetic, easy-to-clean interiors, and minimalist dining cars full of Dutch teenagers. Writers – barring those with patrons or trust funds – can generally be found in the cheap seats.
The enlivening, philosophical aspects of train travel carry on into the 21st century: observing life and landscape; partaking in a sustainable infrastructure; witnessing the endless novelty, education and privilege that it affords; making one think, as Joyce put it, “of all the worlds moving simultaneously”. Air travel has undoubtedly facilitated untold progress, but progress is subjective and contextual. It always involves an untold or suppressed story. Slow travel allows us to think in the longer term. It could serve us well to better see where we have come from and where we are going.
Caoilinn Hughes’s latest novel is The Alternatives, published by Oneworld (£9.99). To support the Guardian and Observer order your copy at guardianbookshop.com. Delivery charges may apply
COLUMBUS, Ohio — U.S. veterans of the war in Afghanistan are telling a commission reviewing decisions on the 20-year conflict that their experience was not only hell, but also confounding, demoralizing and at times humiliating.
The bipartisan Afghanistan War Commission aims to reflect such veterans’ experiences in a report due to Congress next year, which will analyze key strategic, diplomatic, military and operational decisions made between June 2001 and the chaotic withdrawal in August 2021.
The group released its second interim report on Tuesday, drawing no conclusions yet but identifying themes emerging from thousands of pages of government documents; some 160 interviews with cabinet-level officials, military commanders, diplomats, Afghan and Pakistani leaders and others; and forums with veterans like one recently held at a national Veterans of Foreign Wars convention in Columbus, Ohio.
“What can we learn from the Afghanistan War?” asked an Aug. 12 discussion session with four of the commission’s 16 members. What they got was two straight hours of dozens of veterans’ personal stories — not one glowingly positive, and most saturated in frustration and disappointment.
“I think the best way to describe that experience was awful,” said Marine veteran Brittany Dymond, who served in Afghanistan in 2012.
Navy veteran Florence Welch said the 2021 withdrawal made her ashamed she ever served there.
“It turned us into a Vietnam, a Vietnam that none of us worked for,” she said.
Members of Congress, some driven by having served in the war, created the independent commission several months after the withdrawal, after an assessment by the Democratic administration of then-President Biden faulted the actions of President Trump’s first administration for constraining U.S. options. A Republican review, in turn, blamed Biden. Views of the events remain divided, and Defense Secretary Pete Hegseth ordered yet another review this spring.
The commission wants to understand the bigger picture of a conflict that spanned four presidential administrations and cost more than 2,400 American lives, said Co-Chair Dr. Colin Jackson.
“So we’re interested in looking hard at the end of U.S. engagement in Afghanistan, but we’re equally interested in understanding the beginning, the middle and the end,” he said in an interview in Columbus.
Co-chair Shamila Chaudhary said the panel is also exploring more sweeping questions.
“So our work is not just about what the U.S. did in Afghanistan but what the U.S. should be doing in any country where it deems it has a national security interest,” she said. “And not just should it be there, but how it should behave, what values does it guide itself by, and how does it engage with individuals who are very different from themselves.”
Jackson said one of the commission’s priorities is making sure the final report, due in August 2026, isn’t “unrecognizable to any veteran of the Afghanistan conflict.”
“The nature of the report should be representative of every soldier, sailor, airman, Marine experience,” he said.
Dymond told commissioners a big problem was the mission.
“You cannot exert a democratic agenda, which is our foreign policy, you cannot do that on a culture of people who are not bought into your ideology,” she said. “What else do we expect the outcome to be? And so we had two decades of service members lost and maimed because we’re trying to change an ideology that they didn’t ask for.”
The experience left eight-year Army veteran Steve Orf demoralized. He said he didn’t go there “to beat a bad guy.”
“Those of us who served generally wanted to believe that we were helping to improve the world, and we carried with us the hopes, values, and principles of the United States — values and principles that also seem to have been casualties of this war,” he told commissioners. “For many of us, faith with our leaders is broken and trust in our country is broken.”
Tuesday’s report identifies emerging themes of the review to include strategic drift, interagency incoherence, and whether the war inside Afghanistan and the counterterrorism war beyond were pursuing the same aims or at cross purposes.
It also details difficulties the commission has encountered getting key documents. According to the report, the Biden administration initially denied the commission’s requests for White House materials on the implementation of the February 2020 peace agreement Trump signed with the Taliban, called the Doha Agreement, and on the handling of the withdrawal, citing executive confidentiality concerns.
The transition to Trump’s second term brought further delays and complications, but since the commission has pressed the urgency of its mission with the new administration, critical intelligence and documents have now begun to flow, the report says.
Smyth and Aftoora-Orsagos write for the Associated Press.
Farm-to-fork dining may be the latest buzzword on Britain’s foodie scene, but it’s something they’ve been doing brilliantly, and without fuss or fanfare, on the continent for decades. We’d love to hear about your favourite rural food experiences in Europe, whether it be a perfect Italian agriturismo, a fabulous farmer’s market in France, or joining the festivities as the locals celebrate their favourite delicacy coming into season.
The best tip of the week, chosen by Tom Hall of Lonely Planetwins a £200 voucher to stay at a Coolstays property – the company has more than 3,000 worldwide. The best tips will appear in the Guardian Travel section and website.
Keep your tip to about 100 words
If you have a relevant photo, do send it in – but it’s your words we will be judgingfor the competition.
We’re sorry, but for legal reasons you must be a UK resident to enter this competition.
The competition closes on Monday 25 August at 10am BST
You can tell us your travel tip by using the form below.
Your responses, which can be anonymous, are secure as the form is encrypted and only the Guardian has access to your contributions. We will only use the data you provide us for the purpose of the feature and we will delete any personal data when we no longer require it for this purpose. For true anonymity please use our SecureDrop service instead.
If you’re having trouble using the form click here. Read terms of service here and privacy policy here.
