Family

Renate Reinsve is the new face of Scandinavia: depression with a smile. Standing 5 feet 10 with open, friendly features, the Norwegian talent has a grin that makes her appear at once like an endearing everywoman and a large, unpredictable child. Reinsve zoomed to international acclaim with her Cannes-winning performance in Joachim Trier’s 2021 “The Worst Person in the World,” a dramedy tailor-made to her lanky, likable style of self-loathing. Now, Trier has written his muse another showcase, “Sentimental Value,” where Reinsve plays an emotionally avoidant theater actor who bounces along in pretty much the same bittersweet key.

“Sentimental Value” gets misty about a few things — families, filmmaking, real estate — all while circling a handsome Oslo house where the Borg clan has lived for four generations. It’s a dream home with red trim on the window frames and pink roses in the yard. Yet, sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) aren’t fighting to keep it, perhaps due to memories of their parents’ hostile divorce or maybe because they don’t want to deal with their estranged father, Gustav (Stellan Skarsgård, wonderful), who grew up there himself and still owns the place, even though he’s moved to Sweden.

Trier opens the film with a symbolically laden camera pan across Oslo that ends on a cemetery. He wants to make sure we understand that while Norway looks idyllic to outsiders jealous that all four Scandinavian countries rank among the globe’s happiest, it can still be as gloomy as during the era of Henrik Ibsen.

More impressively, Trier shifts to a fabulous, time-bending historical montage of the house itself over the century-plus it’s belonged to the Borgs. There’s a crack in it that seems to represent the fissures in the family, the flaws in their facade. Over these images, Reinsve’s Nora recites a 6th-grade school essay she wrote about her deep identification with her childhood home. Having grown up to become terrified of intimacy, today she’s more like a detached garage.

Nora and Agnes were young when their father, a modestly well-regarded art-house filmmaker, decamped to a different country. At a retrospective of his work, Gustav refers to his crew as his “family,” which would irritate his kids if they’d bothered to attend. Agnes, a former child actor, might note that she, too, deserves some credit. Played in her youth by the compelling Ida Atlanta Kyllingmark Giertsen, Agnes was fantastic in the final shot of Gustav’s masterpiece and Trier takes a teasingly long time to suggest why she retired from the business decades ago, while her older sister keeps hammering at it.

Gustav hasn’t made a picture in 15 years. He’s in that liminal state of renown that I’m guessing Trier has encountered many times: a faded director who’s burned through his money and clout, but still keeps a tuxedo just in case he makes it back to Cannes. Like Reinsve’s Nora, Gustav acts younger than his age and is at his most charming in small doses, particularly with strangers. Trier and his longtime co-writer Eskil Vogt have made him a tad delusional, someone who wouldn’t instantly recognize his graying reflection in a mirror. Sitting down at a cafe with Nora, Gustav jokes that the waitress thinks that they’re a couple on a date. (She almost certainly doesn’t.)

But the tension between Gustav and Nora is real, if blurry. He’s invited her to coffee not as father and daughter, but as a has-been angling to cast Nora as the lead of his next film, which he claims he’s written for her. His script climaxes with a nod to the day his own mother, Karin (Vilde Søyland), died by suicide in their house back when he was just a towheaded boy of 7. Furthering the sickly mojo, Gustav wants to stage his version of the hanging in the very room where it happened.

His awkward pitch is a terrific scene. Gustav and Nora are stiff with each other, both anxious to prove they don’t need the other’s help. But Trier suggests, somewhat mystically, that Gustav has an insight into his daughter’s gloom that making the movie will help them understand. Both would rather express themselves through art than confess how they feel.

When Gustav offers his daughter career advice, it comes off like an insult. She’s miffed when her dad claims his small indie would be her big break. Doesn’t he know she’d be doing him the favor? She’s the lead of Oslo’s National Theatre with enough of a social media following to get the film financed. (With 10 production companies listed in the credits of this very film, Trier himself could probably calculate Nora’s worth to the krone.)

But Gustav also has a lucky encounter with a dewy Hollywood starlet named Rachel (Elle Fanning) who sees him as an old-world bulldog who can give her resume some class. Frustrated by her coterie of assistants glued to their cellphones, Rachel gazes at him with the glowy admiration he can’t get from his own girls. Their dynamic proves to be just as complex as if they were blood-related. If Rachel makes his film, she’ll become a combo platter of his mother, his daughter, his protégée and his cash cow. Nora merely merits the financing for a low-budget Euro drama; Rachel can make it a major Netflix production (something “Sentimental Value” most adamantly is not).

It takes money to make a movie. Trier’s itchiness to get into that unsentimental fact isn’t fully scratched. He seems very aware that the audience for his kind of niche hit wants to sniffle at delicate emotions. When Gustav’s longtime producer Michael (Jesper Christensen) advises him to keep making films “his way” — as in antiquated — or when Gustav takes a swipe at Nora’s career as “old plays for old people,” the frustration in those lines, those doubts whether to stay the course or chase modernity, makes you curious if Trier himself is feeling a bit hemmed in.

There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.

I’ve got no evidence for Trier’s restlessness other than an observation that “Sentimental Value” is most vibrant when the dialogue is snide and the visuals are snappy. There’s a stunning image of Gustav, Nora and Agnes’ faces melting together that doesn’t match a single other frame of the movie, but I’m awful glad cinematographer Kasper Tuxen Andersen got it in there.

The film never quite settles on a theme, shifting from the relationship between Nora and Agnes, Nora and Gustav, and Gustav and Rachel like a gambler spreading their bets, hoping one of those moments will earn a tear. Nora herself gets lost in the shuffle. Is she jealous of her father’s attention to Rachel? Does she care about her married lover who pops up to expose her issues? Does she even like acting?

Reinsve’s skyrocketing career is Trier’s most successful wager and he gives her enough crying scenes to earn an Oscar nomination. Skarsgård is certainly getting one too. But Fanning delivers the best performance in the film. She’s not only hiding depression under a smile, she’s layering Rachel’s megawatt charisma under her eagerness to please, allowing her insecurity at being Gustav’s second pick to poke through in rehearsals where she’s almost — but not quite — up to the task.

Rachel could have been some Hollywood cliché, but Fanning keeps us rooting for this golden girl who hopes she’ll be taken seriously by playing a Nordic depressive. Eventually, she slaps on a silly Norwegian accent in desperation and wills herself to cry in character. And when she does, Fanning has calibrated her sobs to have a hint of hamminess. It’s a marvelous detail that makes this whole type of movie look a little forced.

As Los Angeles city officials worked on an agreement to modernize the Convention Center, more than one member of the McOsker family was playing a key role.

City Councilmember Tim McOsker supported the $2.6-billion expansion, which could bring more tourism but threatens to further exacerbate Los Angeles’ dire fiscal situation.

Nella McOsker, his daughter, runs the Central City Assn., an influential downtown Los Angeles business group, which advocated strenuously for the project.

And his nephew, Emmett McOsker, who was an aide to former Mayor Eric Garcetti, works for the Tourism Department — handling the Convention Center.

Central City Assn. President and Chief Executive Nella McOsker.

(Juliana Yamada/Los Angeles Times)

Nella McOsker often argued for the project as her father listened with his council colleagues. In September, he cast a “yes” vote.

“It’s just a family tradition of public service,” said Doane Liu, executive director of the Tourism Department, who is a longtime friend and former colleague of Tim McOsker — and Emmett McOsker’s boss. “I wish there were more McOskers working at City Hall.”

And there are. Flying a little beneath the radar, due to her last name, is a fourth family member, Anissa Raja — the councilmember’s niece (cousin to Emmett and Nella), who is also his legislative director and president of the Los Angeles County Young Democrats.

Raja does not lead with the fact that she is the councilmember’s relative.

“I don’t mention it because I’m a staffer. I keep it professional at work,” she said.

While the interplay between McOskers can create potential conflicts of interest, Nella says she logs every lobbying conversation she has with Tim’s office to the city’s Ethics Commission, just like she does with other councilmembers.

Plus, she and her dad often disagree. And in L.A. city government, lobbying a close family member is perfectly legal, as long as neither party has a financial stake.

“As a city, we made a policy decision that it shouldn’t be just because you’re related to someone that you can’t try to exert influence over them if they’re in an elected position,” said Jessica Levinson, a professor of law at Loyola Marymount University and former head of the city’s Ethics Commission.

Councilmember Tim McOsker speaking during a 2023 meeting at City Hall.

(Jay L. Clendenin/Los Angeles Times)

For decades, the McOskers — a large, tight-knit Irish Catholic family from San Pedro — have wielded power at Los Angeles City Hall. Unlike the Garcettis and the Hahns, the McOskers have not served in citywide or countywide elected office. But their breadth of influence in Los Angeles politics over the last quarter century may be unparalleled.

The McOskers are hardly alone in making city politics the family business.

There’s Councilmember Katy Yaroslavsky, whose father-in-law Zev Yaroslavsky once held her seat. And Herb Wesson, the former council speaker, whose son was his aide and whose daughter-in-law Alexis Wesson is chief of staff to Councilmember Adrin Nazarian.

Sometimes that leads to family members bumping up against each other in questionable ways.

Eric Garcetti’s father, Gil Garcetti — perhaps best known for being L.A. County district attorney during the O.J. Simpson trial — was president of the Ethics Commission when his son was on the City Council. That led to issues in 2006, when Gil inadvertently contributed to Eric’s reelection campaign, which was not allowed. Or consider Councilmember Curren Price, who has been charged with allegedly voting in favor of development projects his wife’s company was being paid to consult for.

The McOskers’ tradition of city service predates Tim, who worked for City Attorney James Hahn in the 1990s before becoming Hahn’s chief of staff when Hahn was mayor in the early 2000s. Tim’s father, Mac, was a city firefighter, which many in the family cite as the origin of the public service bug.

To this day, the family is as much, or more of, a fire family than a politics family — and some members have combined the two.

Tim’s brother Patrick is a retired LAFD engineer who served as president of United Firefighters of Los Angeles City, the powerful firefighters union. Another brother, Mike, who died in 2019, was vice president of the same union.

Emmett, Patrick’s son, said his father was always his hero and that he wanted to be a firefighter. But when he graduated college in 2011 following the Great Recession, the fire department wasn’t hiring, so he got into politics instead.

Tim, too, aspired to be a firefighter at one point. Two of his children are firefighters, one for LAFD and the other for the California Department of Forestry and Fire Protection, while a cousin works for the county fire department.

In 2003, then-Councilmember Janice Hahn — sister of Mayor James Hahn and daughter of longtime county supervisor Kenneth Hahn — told The Times that Tim and his brothers Patrick, Mike and John (then vice president of the city’s Harbor Area Planning Commission) “are involved in everything.”

Rebecca Liu Morales, a former aide to then-Councilmember Eric Garcetti, was Nella McOsker’s close childhood friend in San Pedro.

“We grew up super familiar with public life and what it looks like. We were dragged to campaign events. We spent Saturdays volunteering,” said Liu Morales, who as Doane Liu’s daughter was also raised in a political family.

Little did Nella McOsker know that decades down the line, she would still be attending her father’s campaign events, helping him get elected to the City Council in 2022.

She worked as his operations director, referring to herself as his “Ego Killer” for always being willing to knock him down a peg. The campaign was filled out by volunteers from the family, from Tim’s wife, Connie, to brother Patrick, who was an avid doorknocker.

One politico who lives in the district noted that two McOskers separately knocked on his door and a third called him as part of a phone banking operation.

After Tim won his council seat, Nella took a job running the Central City Assn. Now, she lobbies councilmembers, including her father’s office.

Councilmember McOsker, along with Councilmember Yaroslavsky, proposed a law in 2023 that would have required lobbyists like Nella who are close relatives of councilmembers or high-level council staffers to disclose the relationship. They would have been prohibited from lobbying on land use development projects in that councilmember’s district. Because Nella works on issues involving downtown, not the San Pedro area, she and Tim would likely not have been affected. The law was never passed.

Rob Quan, who runs a transparency-focused good government advocacy group,
said there is no evidence that the McOskers have leveraged their relationships for undue advantage.

Tim said the family rarely talks local politics at dinners and holidays. First off, there are so many of them that the atmosphere can become chaotic.

Last time he hosted Thanksgiving, Tim said about 47 people showed up, and the tables stretched all the way outside onto the back patio. Mostly, they dote on the kids, and cousins reconnect.

“It’s not a lot about politics. It’s a lot about family,” Tim said.

When politics do come up, the McOskers often land on opposite sides.

Tim said he disagreed with his firefighter daughter Miranda and his brother Patrick, who believed LAFD Chief Kristin Crowley should have been reinstated after Mayor Karen Bass ousted her over her handling of the Palisades fire. The two showed up with other firefighters at the council chambers when the council was voting on the issue.

“You can’t have a mayor and a chief of fire … on different pages. It is dangerous,” Tim said.

While Tim and Nella both supported the Convention Center expansion, the two have split on other issues.

Earlier this year, Tim voted to increase the hotel and airport worker minimum wage — which Nella and the Central City Assn. fiercely opposed.

“There’s a different intensity I can get to with him [than with other councilmembers],” she said, referring to her conversations with her father about politics.

This summer, Nella McOsker and the Central City Assn. were part of a business coalition that proposed a ballot measure to repeal the city’s gross receipts tax on businesses, which generates about $800 million for the city annually. Her goal was to help struggling businesses by reducing their taxes.

“Terrible idea,” Tim McOsker said.

That was probably the most annoyed “Tim” got with her, Nella said.

She calls him Tim, not Dad — partially out of decorum in a world where she is lobbying him and his colleagues on a regular basis.

It’s also how she and her four younger siblings grew up — they’ve always called their parents Tim and Connie.

Nella’s son Omero is 4. She says he can be whatever he wants when he grows up, but some in the city family already have their eyes on him.

“I’m ready to offer him an internship,” Liu said.

British actor Pauline Collins, who earned an Oscar nomination for her turn as the stuck-in-a-rut housewife of “Shirley Valentine,” has died. She was 85.

Collins’ family said in a statement Thursday that the actor died peacefully this week at her care home in north London after living with Parkinson’s disease for several years. In the statement, her family said Collins “was so many things to so many people, playing a variety of roles in her life.”

“A bright, sparky, witty presence on stage and screen,” the family described the versatile actor, whose career began in the 1960s.

Collins was well into her 40s when she starred in “Shirley Valentine,” a witty but disgruntled homemaker who accepts a girlfriend’s offer to travel to Greece to bring much-needed spice back to her life. “Sex for breakfast, sex for dinner, sex for tea and sex for supper,” Shirley proudly declares in the 1989 film, directed by Lewis Gilbert.

For Collins, “Shirley Valentine” was more than just an ode to womanhood, self-love and self-discovery. It was also a chance to challenge the conventions of aging in entertainment, including by shooting a nude scene for the film.

“My only sorrow was that I wasn’t younger and thinner,” a 49-year-old Collins told The Times in 1989. “But if I were Jamie Lee Curtis, I wouldn’t have been right for the part.”

“Shirley Valentine,” which also starred Tom Conti as her on-screen Greek lover and Alison Steadman as her friend, led Collins to receive her sole Academy Award nomination, a nod in the leading actress category. The film also received an original song Oscar nomination for Patti Austin’s “The Girl Who Used to Be Me,” written by Marvin Hamlisch and husband-wife lyricist duo Alan and Marilyn Bergman.

Two years before the film’s premiere, Collins originated the role of Shirley Valentine in London for Willy Russell’s one-woman play of the same name. That led to her Broadway debut in 1989 and a Tony Award for best actress in a play the same year. She also won accolades for the play at the Laurence Olivier Awards and a BAFTA for her work in the film adaptation.

Beyond “Shirley Valentine,” Collins was also known for appearing in dozens of TV series including “Upstairs, Downstairs,” “Forever Green,” “The Ambassador,” “Mount Pleasant” and “Dickensian.” She also appeared in films including “City of Joy,” “Paradise Road” and “You Will Meet a Tall Dark Stranger,” counting Patrick Swayze, Glenn Close, Frances McDormand, Antonio Banderas, Josh Brolin and Anthony Hopkins among her co-stars.

Throughout her decades-long screen career, Collins also continued her work in theater, including productions of “The Importance of Being Earnest,” “Woman in Mind” and “Cinderella.”

Collins, born in 1940, was raised near Liverpool by a schoolteacher mother and a headmaster father. She told The Times in 1989 that her dad “was one of the early feminists.”

“He had three daughters and always offered us everything that a boy would have — education and stuff,” she said. “[My parents] had a completely shared domestic situation, they both worked, cooked, did the washing. He even washed nappies [diapers] by hand.”

Her marriage to “Upstairs, Downstairs” co-star John Alderton — they married in 1969 — was not too different. “He just spent five months holding down the fort at home while I was on Broadway,” she recalled.

Alderton, 84, said Thursday that Collins’ “greatest performance was as my wife and mother to our beautiful children.”

While Collins was known for her scenic and romantic on-screen vacation to the Greek coast, she preferred a different kind of destination off-screen: St. Petersburg, Fla.

“It’s amazing, people think when you’re on your own you’re going off to have wonderful sexual adventures. Here I am, on my own, going off to Disney World,” she told The Times. “What does that say about me?”

The Associated Press contributed to this report.

Dallas Cowboys defensive end Marshawn Kneeland has died of an apparent self-inflicted gunshot wound, police in Frisco, Texas, said Thursday. He was 24.

“It is with extreme sadness that the Dallas Cowboys share that Marshawn Kneeland tragically passed away this morning,” the Cowboys said in a statement. “Marshawn was a beloved teammate and member of our organization. Our thoughts and prayers regarding Marshawn are with his girlfriend Catalina and his family.”

The Frisco Police Department said it was called at approximately 10:39 p.m. Wednesday to help the Texas Department of Public Safety to find a vehicle that had entered the city during a pursuit. The state-level law-enforcement agency said in a statement Thursday that it had attempted to stop the vehicle for a traffic violation, but the driver had refused to stop.

The vehicle was soon found unoccupied, crashed on southbound Dallas Parkway near Warren Parkway. A man — later identified as Kneeland, a resident of nearby Plano — was reported to have fled the scene on foot.

Frisco police were told during the search that Kneeland had expressed “suicidal ideations,” the department said in a statement. “Kneeland was later located at 1:31a.m., deceased with what appeared to be a self-inflicted gunshot wound. The cause/manner of death will be determined by the Collin County Medical Examiner’s Office.”

The Plano Police Department had visited Kneeland’s residence at the request of Frisco police at 11 p.m. Wednesday night but officers were unable to make contact with anyone there. At 11:40 p.m., Plano police said, officers responded to a separate call for a welfare concern associated with Kneeland at the same address, but again were unable to make contact.

Kneeland was selected by the Cowboys out of Western Michigan in the second round of the 2024 draft, less than three months after his mother, Wendy Kneeland, died suddenly of an undisclosed illness. Kneeland told the Dallas Morning News last year that he carried some of his mother’s ashes with him everywhere in a tiny urn on a chain around his neck.

“She helped me a lot in my younger years getting into football,” Kneeland said. “I always had the dream. I always told her, ‘I’m going to the NFL’ and I made it. It’s a hard situation just knowing she got to see me potentially going to the NFL and going through [the process]. She’s still with me. I got this urn of her ashes I carry with me everywhere. I still feel like she’s there watching over me.”

Kneeland played in 18 games, including four starts, and had 26 tackles, four quarterback hits and one sack. On Monday night against the Arizona Cardinals, Kneeland recovered a blocked punt in the end zone for his first NFL touchdown.

“I watched him fight his way from a hopeful kid at Western Michigan with a dream to being a respected professional for the Dallas Cowboys,” Kneeland’s agent, Jonathan Perzley, said in a statement. “Marshawn poured his heart into every snap, every practice, and every moment on the field. To lose someone with his talent, spirit, and goodness is a pain I can hardly put into words.”

Kneeland’s family also released a statement Thursday.

“We are devastated by this tremendous loss and are still processing the depth of our grief,” the family said. “As Marshawn was making his mark on the football field with the Dallas Cowboys, he held an even more special place off the field — as a devoted son, brother, uncle, cousin, nephew, grandson, and friend. He was kind, determined, humble, and full of love. His light shone brightly in every life he touched, and his spirit will continue to live on through the countless hearts he inspired.”

ROCK legend Jon Bon Jovi is the next big name star to join CBeebies Bedtime Story slot.

And he uses his stint to share a loving message about his new granddaughter.

Jon has gushed about his new family role since his son Jake Bongiovi and wife Millie Bobby Brown adopted a baby girl.

The Bon Jovi singer said: “Some of my favourite things in life are music and being a grandad – or as I like to say,‘papa’ – and going on adventures.

“When my grandchildren are a little older, I can’t wait to take them on amazing adventures.

“Music has played a part in all of my kids’ childhoods and I’m looking forward to watching my children become parents and seeing our grandchildren become part of our lives.

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 “It’s not about what I’m going to teach my grandchildren, but what they’re going to teach me!”

The TV storytelling gig has welcomed everyone from Harry Styles to Idris Elba to the bedtime armchair.

Jon has chosen to read his friend Paul McCartney’s book Hey Grandude! tomorrow night (Friday 7 November) at 6.50pm on CBeebies and BBC iPlayer.

He added: “I picked Hey Grandude! because it’s written by the great Paul McCartney, singer, songwriter, storyteller.

“He’s someone I’ve always admired and looked up to, not just for his music but for his parenting and grandparenting skills. He’s a dear friend and someone we all admire.”

Jon will also feature in an episode of the CBeebies Parenting Helpline podcast, out November 27 on the CBeebies Parenting website and BBC Sounds.

He will pose a question about when (and when not) to give parenting advice to your own children.

General Atomics’ Gambit family of drones, with its common modular core ‘chassis’ concept, now has a sixth member optimized for air-to-surface missions, such as attacking hostile air defenses or enemy ships. The company is already eyeing international sales of the new Gambit 6, particularly in Europe, but it could also be of interest to branches of the U.S. military. The latest Gambit configuration underscores the growing pursuit of loyal wingman-type drones, also now often referred to as Collaborative Combat Aircraft (CCA), by armed forces globally.

Gambit 6 made its official debut yesterday at the annual International Fighter Conference in Rome, Italy. General Atomics’ Aeronautical Systems, Inc. division (GA-ASI) first unveiled the Gambit family back in 2022, at which time it included four designs. They were joined last year by Gambit 5, which is intended for carrier-based operations.

“The Gambit Series is a modular family of unmanned aircraft designed to meet diverse mission requirements, including intelligence, surveillance, and reconnaissance; multi-domain combat; advanced training; and stealth reconnaissance,” according to a press release from GA-ASI. “It’s built around a common core platform that accounts for a significant proportion of the aircraft’s hardware, including the landing gear, baseline avionics, and chassis. This shared foundation reduces costs, increases interoperability, and accelerates the development of mission-specific variants like Gambit 6.”

“The multi-role [Gambit 6] platform is optimized for roles such as electronic warfare, suppression of enemy air defenses (SEAD), and deep precision strike, making it a versatile option for evolving defense needs,” the release adds.

An accompanying rendering, seen in part at the top of this story and below, shows a trio of Gambit 6s. Each one is depicted releasing several GBU-53/B StormBreaker precision-guided bombs, also known as Small Diameter Bomb IIs (SDB II).

The Gambit 6 design looks similar, at least externally, to General Atomics’ YFQ-42A. The YFQ-42A is one of two uncrewed aircraft currently under development as part of the first phase, or Increment 1, of the U.S. Air Force’s CCA program. The other is Anduril’s YFQ-44A, also known as Fury. General Atomics has previously confirmed that the YFQ-42A leverages prior work on an experimental drone called the XQ-67A Off-Board Sensing Station, which flew for the first time last year, and the Gambit family. The YFQ-42A made its maiden flight earlier this year, and a second example is now in flight testing.

General Atomics is also now among the companies under contract to develop conceptual CCA designs for the U.S. Navy.

“It’s best to think of Gambit 1 as optimized for advanced sensing, and represented by our XQ-67A OBSS [Off-Board Sensing Station] flying today,” C. Mark Brinkley, a spokesperson for General Atomics, told TWZ. “Gambit 2 is optimized for air-to-air combat and represented by our YFQ-42A, which has multiple airframes currently flying. Loaded with the proper weapons, a Gambit 2 could conduct a ground or surface strike as a multirole aircraft, but it is not optimized for that ground mission.”

“The Gambit series, including YFQ-42A, can be equipped with EW [electronic warfare] suites or EW-capable launched effects [uncrewed aerial systems],” Brinkely added.

The Gambit 3 design is primarily intended to act as a ‘red air’ adversary during training. The flying wing Gambit 4, so far the most visually distinctive member of the family, is focused on intelligence, surveillance, and reconnaissance (ISR) missions. As noted, Gambit 5 is designed for carrier-based combat operations.

“Gambit 6 will be truly optimized for air-to-ground/surface operations. It might visually look like a Gambit 2, and perhaps the differences would be imperceptible to the casual viewer, as both would utilize RF [radiofrequency] and optical sensing,” Brinkley added. “But the mission systems inside Gambit 6 are fine-tuned specifically for ground/surface operations, missions in which General Atomics has developed deep experience over decades of ground/surface sensing and strikes. Gambit 6 could also be outfitted for an electronic warfare mission, for instance, or even naval strikes.”

Overall, “the idea is that Gambit 6 will be primarily looking down.”

Just like an air-to-air combat optimized CCA-type drone, an air-to-surface focused design would help friendly forces expand their coverage and capacity to perform relevant missions over one or more areas of the battlespace, while also reducing the risk to crewed platforms. As described, Gambit 6s seems geared to be particularly well-suited to the suppression and destruction of enemy air defenses mission sets, or SEAD/DEAD, to aid in clearing the way for follow-on operations.

The idea of CCA-type drones taking on these ‘downward-focused’ missions is not new. Though the U.S. Air Force’s CCA program is currently focused on air-to-air missions, the service has expressed interest in future air-to-surface strike and electronic warfare capabilities. Previous U.S. Marine Corps testing of Kratos’ XQ-58 Valkyrie has put particular emphasis on the ability to launch electronic warfare attacks as part of SEAD/DEAD missions conducted together with F-35 Joint Strike Fighters. Earlier this year, the Marines confirmed that experimental work with the XQ-58 was transitioning into a full program of record with a clear eye toward a real operational capability. Air-to-surface missions are also a component of other CCA-type programs globally.

“Air forces throughout the world are looking to air-to-ground-capable CCAs to enhance operational capabilities and address emerging threats in a denied environment,” the General Atomics press release says. “Airframes will be available for international procurement starting in 2027, with European missionized versions deliverable in 2029. GA-ASI is building industry partnerships throughout Europe with the aim of providing sovereign capabilities for all its platforms.”

It has been pointed out that the schedule stated aligns particularly well with a German requirement for a CCA-type drone capable of air-to-surface missions. Last year, Airbus also unveiled a loyal wingman drone with a clear eye toward meeting German Air Force needs. Airbus and Kratos also announced a partnership earlier this year to supply a version of the XQ-58 to the Germans.

General Atomics has made clear that it is looking at multiple potential foreign sales opportunities with Gambit 6.

“Many international allies and partners have expressed interest in a CCA optimized for ground or surface strike. Gambit 6 was announced here in Rome on the first day of the International Fighter Conference, and the resulting interest and inquiry from attending military representatives has been great,” Brinkley, the General Atomics spokesperson, also told TWZ. “We look forward to continuing those discussions here this week. We absolutely intend to submit Gambit 6 for various emerging international opportunities.”

“Nothing would prevent the United States from procuring a Gambit 6 variant, fine tuned to American specifications,” he added.

“I don’t have any additional details to offer on Gambit 5 or the US Navy opportunity. We’ve been talking about the Gambit 5 concept for about 16 months at this point, since Farnborough 2024,” Brinkley also said when asked for a general update on the work the company is doing in relation to the Navy’s CCA effort. “There is no specific relationship between Gambit 5 & Gambit 6 at this time. The point of the Gambit Series is to quickly deliver affordable mass at scale, and to adjust to customer demands rapidly, and each of these aircraft does that, while also leveraging years of hard work and demonstrated success. “

As has been made clear in this story already, the market space for CCA-type drones has been steadily growing in recent years, and extends well beyond General Atomics. Just since September, Lockheed Martin’s Vectis and Shield AI’s X-BAT have joined the growing field of relevant designs. The jet-powered X-BAT is a particularly novel design, intended to take off and land vertically, as you can learn more about in great detail in this recent TWZ feature. In addition to the Gambit family, Vectis, X-BAT, and Anduril’s Fury, among other drone designs, are also being showcased at the International Fighter Conference this week. Also on the market now is Boeing’s MQ-28 Ghost Bat, originally developed for the Royal Australian Air Force (RAAF). Aviation Week just recently disclosed the existence of a new drone design from Northrop Grumman subsidiary Scaled Composites, referred to now simply as Project Lotus, which could be in the broad CCA category, as well.

Nov. 5 (UPI) — The disruption of federal benefits that help feed families spurred a Pittsburgh man to create a front-yard food bank to help others as the federal government remains shut down.

A.J. Owen. 36, resides in the Pittsburgh suburb of Whitehall, and initially started his ad-hoc food pantry after completing a $150 food run with his two sons about a week ago, according to TribLIVE.

Owen has large plastic bins containing canned goods and other foods placed on portable tables in his front yard for those who need food and for others to leave food donations.

“The amount of donations we received and the amount of people coming and getting food is both so gratifying and so horrifying,” Owentold TribLIVE.

“So many people need help,” he added, “and I’m so happy to be a resource for them.”

Owen said he initially started the food pantry to teach his sons about the need to help others, but it has become a much greater endeavor, as affirmed by a recent visit from Good Morning America and its cameras.

The single father notified others of his effort on social media, which resulted in additional food donations — including one donation that he said was thousands of dollars’ worth of $100 bills from an anonymous person.

He found the money stuffed in an envelope inside his mailbox with a note saying, “May God prosper and bless your food pantry,” Owen told ABC News.

“My body started shaking,” he said. “I started crying.”

He also said, “This was the best cry ever because whatever you want to believe, an angel truly came down and blessed us that day. And we’ve been good ever since.”

Owen didn’t say how much money was in the envelope, other than it added up to “thousands” of dollars.

He posted a video of the anonymous donation on social media, which drew millions of views and prompted others to visit and donate more food.

Among them were Pittsburgh Steelers defensive end Yahya Blackand his fiancé, who donated “tons of food,” Owen said on social media.

Owen did not say if his food pantry effort might outlast the federal government shutdown, which entered a record 36 days on Wednesday and temporarily disrupted funding of the federal government’s Supplemental Nutrition Assistance Program.

After going global for its second volume, “Star Wars: Visions” Volume 3 brings the anthology series back to its roots with a new slate of shorts all created by Japanese anime studios.

Each season of the Disney+ series, which launched in 2021, has infused fresh creative energy into the galaxy far, far away by giving international animation houses the freedom to explore ideas about the Force, the factions of the Galactic War and brand new planets and cultures outside of the constraints of the long-running franchise’s canon.

And while Volume 3, which premiered last week, revisits some characters that were introduced in Volume 1, it also shows how anime is a medium with range. From the gritty installment that explores the complexity of the dark sides of the Force through a battle between former Sith and Jedi (“The Duel: Payback”) to a more heartwarming story about a pair of resourceful orphans who decide to become family (“Yuko’s Treasure”), there are different types of anime for everyone.

Anée-san in “The Duel: Payback,” one of the shorts in “Star Wars: Visions” Volume 3.

(Lucasfilm Ltd.)

With movies like “Demon Slayer: Kimetsu no Yaiba Infinity Castle” and “Chainsaw Man — The Movie: Reze Arc” making waves at the box office, anime’s growing popularity is undeniable and its availability on major streamers has also made anime series and movies more accessible than ever. So for those whose curiosity about the medium has been piqued by “Star Wars: Visions,” here are some titles to check out based on the themes and stories of the nine shorts that comprise Volume 3.

Stunning fights (with some moral ambiguity)

Sagiri in an episode of “Hell’s Paradise.”

(©Yuji Kaku/Shueisha, Twin Engine, Mappa / Crunchyroll)

Let’s be honest: Lightsaber duels are awesome. So it’s no surprise that a number of shorts in “Star Wars: Visions” Volume 3 leaned into stories involving Jedi and/or the Sith, including “The Duel: Payback,” “The Lost Ones” and “The Bird of Paradise.”

For those who are looking for anime featuring stylish and stunning sword-fighting scenes, the ever popular “Demon Slayer” (Netflix, Disney+/Hulu, Crunchyroll), featuring a secret organization fighting to protect humans from demons, is an obvious choice. Another show featuring stylish combat between skilled warriors and supernatural monsters is “Hell’s Paradise” (Netflix, Disney+/Hulu, Crunchyroll). The series follows a ninja who is recruited by an executioner to join a party of death row inmates on a quest to find the elixir of life on a mythical island populated with mysterious deadly threats. The successful convict will be pardoned for all of their past crimes. The premise may remind some of the supervillain team-up “The Suicide Squad,” but the fighting scenes — and the island’s inhabitants — stand alone.

Master and apprentice dynamics

Frieren, left, and Fern from “Frieren: Beyond Journey’s End.”

(Crunchyroll)

Speaking of Jedi, “The Lost Ones” and “The Bird of Paradise” also touch on the relationship between a Jedi master and their padawan apprentice. If a story involving a lineage of student-teacher dynamics that’s about friendship, human connection, memory, mortality and legacy sounds intriguing, consider checking out “Frieren: Beyond Journey’s End” (Netflix, Disney+/Hulu, Crunchyroll). The fantasy series follows an elven mage, her young human apprentice and others they pick up along their years-long journey to visit the spirits of old friends. The show is part travelogue, part adventure quest with monsters, magic battles and dungeon exploration.

Lovable scoundrels

Kazuki, left, Miri and Rei in an episode of “Buddy Daddies.”

(©KRM’s Home / Buddy Daddies Committee / Crunchyroll)

The world of “Star Wars” is full of scoundrels that fans can’t help but love for their swagger and independent moral code, and “Visions” installments “The Smuggler” and “The Bounty Hunters” add to that legacy.

Well-known classics like “Cowboy Bebop” (Crunchyroll) and “Lupin the Third” (Tubi, Crunchyroll) and the long-running “One Piece” (Netflix, Disney+/Hulu, Crunchyroll) are good starting points for those first dipping their toes into anime and are interested in the adventures of a ragtag group of bounty hunters, thieves and/or pirates. For those looking for something new, consider “Buddy Daddies” (Crunchyroll), which follows a pair of assassin roommates who form a makeshift family after taking in a 4-year-old they encounter while out on a job. Think of it like “The Mandalorian,” if Mando had a recluse gamer co-parent and Grogu was a picky eater.

Political space wars and mech suits

Suletta Mercury in an episode of “Mobile Suit Gundam: The Witch from Mercury.”

(©Sotsu, Sunrise, MBS / Crunchyroll)

Some film and TV shows set in the galaxy far, far away are more political than others, but aspects of the conflict involving the Galactic Empire, Rebel forces and stray Jedi are touched on in a few of the shorts in “Visions” Volume 3 like “The Lost Ones,” “The Smuggler,” “Black” and “The Song of Four Wings,” with the latter featuring a young protagonist that dons a snazzy flying mech suit.

The mecha franchise “Gundam” is best known for its giant robots, but it’s a sprawling space opera that touches on political themes including the horrors of corruption, inequity and war. A recent standout is newcomer-friendly “Mobile Suit Gundam: The Witch From Mercury” (Crunchyroll). The show follows a shy new transfer student at a corporate military school where recruits train and settle disputes in giant mech suit combat. The series uses school drama and a budding teen romance as a backdrop to touch on themes such as class strife and prejudice, corporate greed and personal vengeance.

Emotionally resonant robots

Atom in an episode of “Pluto.”

(Netflix)

From the Skywalkers’ fussy protocol droid C-3PO to Hera Syndulla’s cranky astromech Chopper, lovable androids are a “Star Wars” signature. “Visions” Volume 3 installments “The Ninth Jedi: Child of Hope” and “Yuko’s Treasure” each introduce loyal droids that tug viewers’ heartstrings.

The title androids in “Astro Boy” (also known as Atom) and “Doraemon” are kid-friendly household names in Japan akin to Mickey Mouse and Snoopy, but a more mature option is “Pluto” (Netflix). The gritty, sci-fi murder mystery series is based on a reimagining of a story arc from the “Astro Boy” manga, and is set in a world where humans live alongside robots — though the dynamic is a bit different than in “Star Wars.” The story follows a robot detective who is investigating a string of robot and human killings, and, like many sci-fi stories about androids and artificial intelligence, touches on themes like what makes humans human.

A scene from “Yuko’s Treasure,” one of the shorts in “Star Wars: Visions” Volume 3.

(Lucasfilm Ltd.)

Rambunctious kids

Plenty of “Star Wars” media is made with younger audiences in mind, but not many are about the adventures of children in the galaxy far, far away. “Vision” Volume 3’s “Yuko’s Treasure” puts a couple of orphan kids in the forefront — along with an adorable bear-like droid.

There’s no shortage of anime series about the (mis)adventures of rambunctious kids and one of the more heartwarming involves a “fake” family. “Spy x Family” (Disney+/Hulu, Crunchyroll) follows a secret agent working to maintain the fragile peace between neighboring nations and the faux happy family he constructed for his latest undercover mission. Unbeknownst to him, his adopted daughter is secretly a telepath and his fake wife is an assassin. As one might expect, a telepathic first grader with a wild imagination who lives with a spy and an assassin can get caught up in plenty of shenanigans. Bonus: The family also adopts a cute massive dog.

Kotaro in an episode of “Kotaro Lives Alone.”

(Netflix)

On the opposite end of the spectrum is “Kotaro Lives Alone” (Netflix), a more grounded show with just as outlandish a premise. The series follows a 4-year-old who moves into a rundown apartment complex alone — for reasons that are eventually revealed as his neighbors get to know him. The boy is unusually self-reliant and mature but also childish and understandably vulnerable. As viewers might assume, there are not many happy circumstances that could possibly lead to a 4-year-old child living on his own, but there’s more warmth than tragedy.

Musical, visual spectacle

One of the standouts in “Star Wars: Visions” Volume 3 is “Black,” a jazz-fueled, mind-bending fever dream of a Stormtrooper during a battle. The bold, music-driven 13-minute short is a visual spectacle that challenges viewers and there’s not much else out there that compares. Though it has a more structured narrative, the anime film “Inu-Oh” (Netflix) is a psychedelic rock opera that might scratch the same itch. Set in 14th century Japan, the film follows two young artists who forge a friendship because they are both outcasts — the musician is blind, and the dancer was born with monstrous deformities — and their dazzling performances drive the story.

GRATEFUL Dead singer Donna Jean Godchaux-MacKay has sadly died at the age of 78.

The singer, who made a name for herself in the band in the 70s, was also a backup singer for Elvis Presley and Percy Sledge.

The rocker sadly died on Sunday after a lengthy cancer battle.

A statement was released after she died at Alive Hospice in Nashville.

The statement announced her passing reads, “She was a sweet and warmly beautiful spirit, and all those who knew her are united in loss.

“The family requests privacy at this time of grieving.

“In the words of Dead lyricist Robert Hunter, ‘May the four winds blow her safely home’.”

Fans have already flocked to social media to express their sadness over her tragic passing.

One person on X said, “Donna was awesome. Really sad about this.”

Another penned, “Beautiful and powerful voice, there will never be another Donna Jean.”

A third person added, “So sad to learn of the passing of Donna Jean Godchaux.

“Through most of the 1970s, she made her mark on American music as a singer with the Grateful Dead. May she rest in peace.”

And a fourth said, “RIP Donna Jean Thatcher Godchaux-MacKay.

“Helluva singer who worked with the Grateful Dead & Elvis and put up with a sh**load of misogyny. Tough, special lady.”