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Fans of the seminal, long-running podcast “WTF With Marc Maron” — and I count myself among them — have been treated to thousands of deep-dive interviews with a starry array of actors, musicians, comics and even some politicians (Barack Obama was a guest in 2015). It’s also been an intimate window into the conflicted inner life of the show’s eponymous host. Maron has seemingly pulled few if any punches in his podcast’s opening monologues as he’s held forth on everything from his fraught emotional state and his two-decade struggle with drug and alcohol addiction (he’s been sober since 1999) to the untimely 2020 death of his romantic partner, the well-regarded indie filmmaker Lynn Shelton (“Humpday,” “Your Sister’s Sister”).

Much of this personal territory and more is revisited in the absorbing, fly-on-the-wall-style documentary “Are We Good?” (named after Maron’s “WTF” sign-off phrase), produced and directed by Steven Feinartz.

Feinartz, who also directed Maron’s last two HBO stand-up specials, began filming his subject in 2021. He trailed Maron as he performed in comedy clubs from Los Angeles to Montreal, recorded his podcast from the garage studio of his Glendale home, visited with his elderly father and, most pivotally, worked through the soul-crushing loss of Shelton. That loss becomes the driving force of the doc, with Maron’s grief informing his daily life and thought process, while also providing cathartic, darkly humorous fodder for his stand-up gigs.

It’s a tricky balancing act that Feinartz depicts with candor, grace and patience, never letting the film’s provocative pathos turn overly grim or sentimental. A stand-up bit in which Maron recalls his ghoulish urge to snap a hospital selfie after bidding goodbye to the deceased Shelton (don’t worry, he decided against it) provides a gulp-worthy example of the comic’s brazen yet reflective approach to the world around him.

That Shelton died at the start of the COVID-19 pandemic made for an additionally cruel and difficult time for Maron, who was unable to share his pain with many others as social distancing took over. He eventually found the funny in that conundrum as well, incorporating the memory into his routine with satiric glee.

Anyone familiar with Maron’s grumpy, F-bomb-tossing persona will likely savor these 90 or so minutes in his swirlingly neurotic company. He unabashedly leans into that vibe here, even while wrangling his pair of self-possessed cats. While Maron sometimes kvetches about Feinartz’s hovering cameras, he seems to have given him a kind of all-access pass to his daily life in a way that belies his trademark crankiness. He may be a reluctant showman, but he’s a showman nonetheless.

The uninitiated, however, might find Maron somewhat less engaging. He readily self-identifies as “selfish, anxious and panicky” and for some, a little of that may go a long way. Still, it’s not hard to relate to his many cogent musings (“How do you love somebody else if you really can’t love yourself?”) as well as to respect he clearly had for Shelton, who’s seen here in an array of luminous, heartbreaking clips.

Other comic talents such as Nate Bargatze, David Cross, Caroline Rhea, Michaela Watkins and John Mulaney also weigh in, bringing a mix of the sincere and the droll to their frank and friendly observations about Maron. On his podcasts and elsewhere, Maron has spoken at length about growing up with narcissistic, emotionally detached parents and how that dynamic likely laid the groundwork for his problematic sense of self. Although that’s not discussed in great detail here, the scenes between Maron and his dad, Barry, now in his mid-80s and living with dementia, have a subtle poignance that shows a kinder, more accepting side of the comedian than perhaps even he might have expected.

Meanwhile, a bit more could have been made of Maron’s acting work, a sideline that’s gained momentum over the last decade or so with worthy roles on TV’s “Glow” and “Stick,” and in films including “Joker” and the upcoming “Springsteen: Deliver Me From Nowhere.” Maron’s oft-stated uncertainty about his acting ability and the push-pull he has admitted to feeling might have dovetailed nicely with his other qualms.

That said, the profile, which features vivid archival and personal footage and photos of Maron throughout the years, is by no means comprehensive, nor does it try to be. At heart, it’s about a vulnerable man at a unique moment in time and how his past has prepared him — or perhaps not. And we are definitely good for experiencing this singular artist up close.

WASHINGTON — President Trump has seized on the government shutdown as an opportunity to reshape the federal workforce and punish detractors, meeting with budget director Russ Vought on Thursday to talk through “temporary or permanent” spending cuts that could set up a lose-lose dynamic for Democratic lawmakers.

Trump announced the meeting on social media Thursday morning, saying he and Vought would determine “which of the many Democrat Agencies” would be cut — continuing their efforts to slash federal spending by threatening mass firings of workers and suggesting “irreversible” cuts to Democratic priorities.

“I can’t believe the Radical Left Democrats gave me this unprecedented opportunity,” Trump wrote on his social media account. “They are not stupid people, so maybe this is their way of wanting to, quietly and quickly, MAKE AMERICA GREAT AGAIN!”

The post was notable in its explicit embrace of Project 2025, a controversial policy blueprint drafted by the Heritage Foundation that Trump distanced himself from during his reelection campaign. The effort aimed to reshape the federal government around right-wing policies, and Democrats repeatedly pointed to its goals to warn of the consequences of a second Trump administration.

Vought on Wednesday offered an opening salvo of the pressure he hoped to put on Democrats. He announced he was withholding $18 billion for the Hudson River rail tunnel and Second Avenue subway line in New York City that have been championed by both Democratic leaders, Senate Democratic leader Chuck Schumer and House Democratic leader Hakeem Jeffries, in their home state. Vought is also canceling $8 billion in green energy projects in states with Democratic senators.

Meanwhile, the White House is preparing for mass firings of federal workers, rather than simply furloughing as is the usual practice during a shutdown. White House press secretary Karoline Leavitt said earlier this week that layoffs were “imminent.”

“If they don’t want further harm on their constituents back home, then they need to reopen the government,” Leavitt said Thursday said of Democrats.

A starring role for Russ Vought

The bespectacled and bearded Vought has emerged as a central figure in the shutdown — promising possible layoffs of government workers that would be a show of strength by the Trump administration as well as a possible liability given the weakening job market and existing voter unhappiness over the economy.

The strategic goal is to increase the political pressure on Democratic lawmakers as agencies tasked with environmental protection, racial equity and addressing poverty, among other things, could be gutted over the course of the shutdown.

But Democratic lawmakers also see Vought as the architect of a strategy to refuse to spend congressionally approved funds, using a tool known as a “pocket rescission” in which the administration submits plans to return unspent money to Congress just before the end of the fiscal year, causing that money to lapse.

All of this means that Democratic spending priorities might be in jeopardy regardless of whether they want to keep the government open or partially closed.

Ahead of the end of the fiscal year in September, Vought used the pocket rescission to block the spending of $4.9 billion in foreign aid.

White House officials refused to speculate on the future use of pocket rescissions after rolling them out in late August. But one of Vought’s former colleagues, insisting on anonymity to discuss the budget director’s plans, said that future pocket rescissions could be 20 times higher.

Shutdown continues with no endgame in sight

Thursday was Day 2 of the shutdown, and already the dial is turned high. The aggressive approach coming from the Trump administration is what certain lawmakers and budget observers feared if Congress, which has the responsibility to pass legislation to fund government, failed to do its work and relinquished control to the White House.

Vought, in a private conference call with House GOP lawmakers Wednesday, told them of layoffs starting in the next day or two. It’s an extension of the Department of Government Efficiency work under Elon Musk that slashed through the federal government at the start of the year.

“These are all things that the Trump administration has been doing since January 20th,” said Jeffries, referring to the president’s first day in office. “The cruelty is the point.”

House Speaker Mike Johnson (R-La.) underscored Thursday that the shutdown gives Trump and Vought vast power over the federal government. He blamed Democrats and said “they have effectively turned off the legislative branch” and “handed it over to the president.”

Still, Johnson said that Trump and Vought take “no pleasure in this.”

Trump and the congressional leaders are not expected to meet again soon. Congress has no action scheduled Thursday in observance of the Jewish holy day, with senators due back Friday. The House is set to resume session next week.

The Democrats are holding fast to their demands to preserve health care funding and refusing to back a bill that fails to do so, warning of price spikes for millions of Americans nationwide.

The shutdown is likely to harm the economy

With no easy endgame at hand, the standoff risks dragging deeper into October, when federal workers who remain on the job will begin missing paychecks. The nonpartisan Congressional Budget Office has estimated roughly 750,000 federal workers would be furloughed on any given day during the shutdown, a loss of $400 million daily in wages.

The economic effects could spill over into the broader economy. Past shutdowns saw “reduced aggregate demand in the private sector for goods and services, pushing down GDP,” the CBO said.

“Stalled federal spending on goods and services led to a loss of private-sector income that further reduced demand for other goods and services in the economy,” it said. Overall CBO said there was a “dampening of economic output,” but that reversed once people returned to work.

How Trump and Vought can reshape the federal government

With Congress as a standstill, the Trump administration has taken advantage of new levers to determine how to shape the federal government.

The Trump administration can tap into funds to pay workers at the Defense Department and Homeland Security from what’s commonly called the “One Big Beautiful Bill” that was signed into law this summer, according to the CBO.

That would ensure Trump’s immigration enforcement and mass deportation agenda is uninterrupted. But employees who remain on the job at many other agencies will have to wait for government to reopen before they get a paycheck.

Mascaro, Boak and Kim write for the Associated Press. AP writers Chris Megerian, Stephen Groves, Joey Cappelletti, Matt Brown, Kevin Freking, and Mary Clare Jalonick contributed to this report.

City were on their way to making it back-to-back wins in the Champions League this season but Dier’s nerveless, last-minute penalty salvaged a draw for Monaco.

Guardiola’s side are unbeaten in their last six games, but a worrying trend is beginning to emerge of conceding late goals.

They have conceded eight times in all competitions so far, but half of those have come at crucial periods in each half.

It means City have dropped three points in the Premier League after conceding in the 89th minute or later – which would have seen them on level points with second-placed Arsenal – and a further two in the Champions League.

This was also a missed opportunity to put right their recent poor away record in Europe, now failing to win their past five games on the road in the competition.

The result follows on from last season’s disappointment of not winning a major trophy, being knocked out of the Champions League at the play-off round and finishing third in the Premier League.

“You wouldn’t panic,” former Manchester United midfielder Nicky Butt said on Match of the Day. “Everyone wants to win their games and get the adulation of what a great team you are but it is not normal to keep doing it year on year.

“Man City have done it for so many years but they are having a bit of a struggle over the last couple of years. They have players who can turn games and win you big competitions and trophies.

“They will be there or thereabouts, they just have to get the squad together and be fit coming in to the new year.”

The lead of the horror-tinged heart-tugger “Good Boy” is a copper-colored retriever named Indy who pads around an eerie house deep in the New Jersey woods investigating its mysterious creaks, shadows and smells. Like the Method-style actors of “The Blair Witch Project,” he goes by his real name onscreen. An ordinary dog without a whiff of Hollywood hokum, Indy doesn’t do implausible stunts like Lassie or Rin Tin Tin or comprehend anything that his owner, Todd (Shane Jensen), says besides simple phrases: sit, stay and, gratefully, the title itself. But we’re invested in the mindset of this mundane hero. His nose twitches are as dramatic as an ingenue’s gasp.

First-time feature director Ben Leonberg raised Indy as a pet first, movie star second. Along with his wife, Kari Fischer, who produced the film, Leonberg shot “Good Boy” in his weekend house, staging scenarios for Indy to explore until he had enough material for a (barely) full-length spook show. Even at 72 minutes, “Good Boy” is belabored in the middle stretch. It would make a fabulous one-hour TV special.

Using his personal footage, Leonberg (who also edited the film and did its gorgeous, inky-wet cinematography) opens with a montage of Indy growing up from a tiny puppy to a loyal best friend. We love the dog more in five minutes than we do some slasher final girls who’ve survived several sequels. Indy is the most empathetic scream queen of the year so far — and I mean that literally as his breed, a Nova Scotia Duck Tolling retriever, is known for its high-pitched wail. American Kennel Club lists the Toller as the U.S.’s 87th most popular dog. I expect this movie will lead to an uptick. (Steve Martin already has one.)

What’s wrong in Indy’s new home? A pair of tragedies wind together like vines, although from the dog’s point of view, the distinction between them isn’t always obvious. This battered two-story home with ominous scratches on the basement door has been in Todd’s family for six generations, as the cemetery out back proves. Bequeathed to the youngish urban hipster by his grandfather (indie cult icon Larry Fessenden), a misanthrope who willed his taxidermy collection to a vegan, it’s a good place to disappear.

Todd, who’s in bad physical and emotional shape, has isolated himself in this scraggly, foggy forest to get some privacy from his sister, Vera (Arielle Friedman). There’s also a past death that the dog is able to perceive. A sniff of a rotting old chair frightens Indy so much, he wets the rug.

“Scaredy pants,” Todd teases Indy. The dog can’t explain what only he knows.

Several unnerving things are happening at once, including the presence of a silhouetted stalker, old bones that give the dog nightmares and Todd’s unpredictable mood swings. There’s also a ghost in the movie, I think — at least, there’s a heavy hinge that shouldn’t be able to open without a spectral nudge. Indy stands about two feet tall, so the camera often stays at that height too, gliding close to the floor where the view from under the bed looks as big as an airplane hangar.

A realistic dog’s-eye view of a creepy cabin is a good hook, although people hoping to see an otherwise satisfying genre thriller will feel a bit underwhelmed that Leonberg and his co-screenwriter Alex Cannon are conflicted about pushing the scary elements of the film too far into the supernatural. With a complicated backstory off the table (Indy looks restless whenever adults are having a conversation), the movie taps into our burgeoning belief that animals do have a special sixth sense, like how hospice workers know to pay special attention to whoever gets night visits from the resident pet.

Still, “Good Boy” doesn’t stray too far from the film’s core strength: a normal dog doing normal dog things. In a twitch, a head tilt or a whine, Indy communicates his emotions: curious, lonely, contented, confused, fretful, desperate or petrified. There’s no CG in the dog’s performance, no corny reaction shots and no use of animal doubles either. Todd’s own legs, however, are often doubled by Leonberg, an onscreen switcheroo that’s possible because the lens doesn’t tend to look up.

I liked the plot better on a second watch when I knew not to expect Jamie Lee Curtis on all fours. The ending is great and the build up to it, though draggy, gives you space to think about the interdependence between our species. Dogs are wired to be our protectors and yet, through generations of nurturing, they’ve come to trust that we’ll also protect them. The inarticulate betrayal in the film is that Todd isn’t making good decisions for anyone. His bond with Indy is pure and strong, yet one-sided in that Todd is too distracted to ease the dog’s fears. Indy is bereft to be left alone for long stretches of time in a strange house. But he can’t do a thing about that, nor the sputtering electricity, the fox traps in the brush and the neighbor (Stuart Rudin) who skulks around in hunting camouflage.

In Todd’s facelessness, he’s a stand-in for whatever you want: absentee parents, a struggling partner or child or friend. There’s a scene in which he comes home in obvious need of a cuddle, only to push his dog away. Maybe you’ve been both people in that shot: the person overwhelmed by their own pain and the loved one who has no idea how to soothe them. It’s terrifying to love someone this much, to give them the full force of your devotion only to get locked outside.

Consciously or not, Leonberg has made a primal film about helplessness. Watching it, I was knocked sideways by a sense memory of how it felt to be a child. Like Indy, kids get dragged around to places they don’t want to go to for reasons that aren’t explained, and when they whine, they’re commanded to pipe down. Even as we get older — when our own point of view can stand taller than two feet — the things that truly scare us are the ones that make us feel small and confused.

The Dodgers are not here for conventional wisdom. The Dodgers are here to win the World Series.

So what if an unforeseen hurdle appeared in front of their October path? The Dodgers are on the verge of turning that hurdle into an unexpected but well-planned advantage on their quest to become baseball’s first back-to-back champions in 25 years.

Conventional wisdom says the odds favor a team with a bye, because that team can set up its pitching rotation for the division series just the way it wants while its opponent burns through its best arms in the wild-card series. The Dodgers are one win away from storming through the wild-card series and setting up their pitching rotation for the division series just fine, thank you very much.

That, it turns out, is what you can do when your star-studded starting rotation is healthy and effective for the first time all season, at precisely the right time.

The Dodgers thoroughly outclassed the Cincinnati Reds, 10-5, in Tuesday’s opener of the best-of-three wild-card series. If the Dodgers win Wednesday, or if they win Thursday, they would advance to what would be the premier matchup in all the National League playoffs: the Dodgers vs. the Philadelphia Phillies.

“I think the biggest downside of playing in a wild-card series, obviously, if you’re able to advance, is what your pitching looks like after that,” Dodgers president of baseball operations Andrew Friedman said. “That’s the cost.

“And I think, with our depth, that’s really mitigated.”

It ain’t over ‘til it’s over. If the Angels could go 6-0 against the Dodgers this season, the Reds could win the next two games.

However, the Reds used their best pitcher, Hunter Greene, in Game 1. The Dodgers have their best pitcher, Yoshinobu Yamamoto, ready to deploy in Game 2.

And, since the best-of-three wild card format was introduced in 2022, all 12 teams that have won Game 1 have gone on to win the series.

So let’s plan this out. If the Dodgers win Wednesday, Shohei Ohtani could start Game 1 of the division series Saturday. If the Reds force a decisive third game Thursday, Ohtani is the scheduled starter — and, if the Dodgers win, Tyler Glasnow, Emmet Sheehan and Clayton Kershaw all could be options for Game 1 of the division series.

Kershaw would be available for sure, as he is not on the wild-card roster and he would be pitching on regular rest.

Dodgers pitcher Clayton Kershaw would be available to pitch Game 1 of the NLDS if the Dodgers advance.

(Gina Ferazzi / Los Angeles Times)

“To have Clayton Kershaw standing there ready, no matter how we deploy our pitching this week, gets at the cost (of playing in the wild-card round) not being as great,” Friedman said.

And the division series includes an off day after each of the first two games, which would enable the Dodgers to use Snell on five days’ rest for Game 2 and Yamamoto on six days’ rest for Game 3.

The Dodgers have so much flexibility, in fact, that manager Dave Roberts declined to say that Ohtani would start Game 1 of the division series if the Dodgers close out the wild-card series Wednesday.

“You’re getting ahead,” Roberts said, “but one of the first two games, probably.”

It is important that Snell held the Reds to two runs in Tuesday’s victory, but it is more important that he pitched seven innings. The Dodgers asked their relievers to cover two innings with an eight-run lead, and it took four of them to do it.

The Dodgers’ road to success is clear: more of the starters, less of the erratic relievers, and less need to lean on Glasnow and Sheehan in an unfamiliar role.

“The deeper that the starters go in the game — one, it means that we’re pitching good; but, two, you’re giving the bullpen a break and a breather, and they get to be 100% every time they come out,” Snell said.

“That makes for a different game that favors us.”

The Dodgers improvised their way to a title last October, with three starting pitchers and four bullpen games. That was not conventional wisdom, either.

This time of year, however, most postseason teams have three or four reliable starters. The Dodgers have six. If they have to play in an extra round, well, what doesn’t kill them makes them stronger.

GOOGLE has always excelled when it comes to smartphone cameras – but the latest effort might have gone too far.

When I tried out the new Google Pixel 10 Pro XL’s star feature I gasped and said “Good God”.

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I showed friends some of the results and they were stunned – if a little disturbed – by what the device’s mega zoom was capable of.

My colleague Sean Keach has already tried the smaller Pixel 10 Pro and has given his verdict on the identical camera features on there too.

But is it all worth it?

As The Sun’s main Android smartphone reviewer I’ve been putting the Pixel 10 Pro XL through its paces and here’s what I found…

Google Pixel 10 Pro XL: Look and feel

Google has stuck to a pretty consistent, solid look on the Pixel 10 Pro XL.

As ever with annual upgrades, you may even struggle to tell the difference between last year’s Pixel 9 Pro XL which I also reviewed.

I love the mat glass back and the shiny G logo, it just gives off such a confident premium vibe.

The camera bar is pretty much the same as last year too and I’m still undecided about the bulkiness of it, even though it’s quite tidy and neat.

But given the sorts of photos it takes, all that kit has to be packed in somewhere.

The display has had a noticeable upgrade this year, which is brighter and bursting with crisp detail too.

However, the Pixel 10 Pro XL hasn’t been taking a techy dose of Ozempic like Samsung and iPhone this year with thinner models – it weighs 232g, up a bit on last year.

I absolutely adore the new colours this year too, with Moonstone (the one I’m reviewing) Jade, Porcelain and Obsidian.

Google Pixel 10 Pro XL: Performance and features

Google continues to use its own Tensor chip in Pixel smartphones and this year’s Tensor G5 kit is said to be about 35 per cent faster.

It certainly operates smoothly and without any hiccups in my testing – but this chip isn’t as powerful as the Snapdragon chip found in most other top end smartphones around.

The handset runs on Android 16, the latest version of the operating system and it’s my absolute favourite around – which should be a given seeing as Google owns Android.

A lot of the features are centred on AI once again and most are photography based, which I’ll go into later.

But there are some other tools such as Voice Translate, which translates calls in real-time and sounds like each speaker’s own voice.

Having tried it with my partner in French, it was somewhat eerie to hear.

And it’s all done on device, so no sensitive call conversations are sent off to the cloud.

Google is also among the best for offering quick and fast Android upgrades for years to come, with a commitment to seven operating system versions and seven years of security upgrades.

Who offers free updates longest?

The longer you receive updates, the longer you can safely continue using your smartphone – with the latest features thrown in too for free.

Samsung
Samsung offers at least seven generations of OS updates and seven years of security updates on most of its smartphones, even its latest cheaper FE model.

OnePlus
At the launch of the OnePlus 13, OnePlus committed to at least four years of Android updates and five years of security updates.

Xiaomi
Xiaomi offers four years off Android updates and five years security updates.

Google
For the Pixel 10 series, Google said that devices would receive at least seven years of support.

Google Pixel 10 Pro XL: Battery

You can easily get a good day’s worth of use out of the Google Pixel 10 Pro XL with a good mix of browsing, messaging and Netflix as I tend to test it on.

But it’s not the best battery around – I got more out of the Galaxy S25 Ultra.

There is fast charging though, that’ll get you from zero to full in about an hour and a half with a compatible plug charger.

Google Pixel 10 Pro XL: Camera

The camera on the Google Pixel 10 Pro XL is where things get really juicy.

You have a treasure trove of powerful lenses paired up with AI power to enhance everything.

There’s a 50-megapixel main camera, 48-megapixel ultrawide and 48-megapixel 5x telephoto, as well as a 42-megapixel selfie snapper.

The photos I get on a Pixel are always super impressive with incredible detail and popping with vibrant colour.

It exudes beauty inside and out, and makes taking stunning photos effortless

This year’s shocker is the Pro Res Zoom which can get extremely detailed shots from a remarkable distance, seeing things my naked eye cannot.

It can go up to an eye-watering 100x.

Anything above 30x onward uses an AI model on the phone to recreate bits lost from digital zoom, so it does raise questions about how real the results are.

Whatever way you look at it, the images are highly convincing, as you’ll see from the snaps I took from the same position below with no zoom, a 10x zoom, a 50x zoom and a 100x zoom.

One thing to note: when using the zoom faces are automatically blurred.

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Google Pixel 10 Pro XL: Price

One bit of good news about the price is it hasn’t increased from last year’s models.

So the Pixel 10 Pro XL starts at £1,199.

If that’s a bit steep for you, you might want to consider the Pixel 10 Pro instead which has much of the same in a smaller physical form from £999 instead.

There’s also a freebie worth £190 included with all the Pro models.

You get access to Gemini Pro for a whole year, which is Google’s more powerful and fast AI system, capable of extra skills such as Veo 3 Fast for text-to-video generation.

All prices in this article were correct at the time of writing, but may have since changed.

Always do your own research before making any purchase.

DONALD Trump has signed an executive order laying the groundwork for China to hand over TikTok to US owners following “very good talks” with Xi Jinping.

Dealmaster Don said he had come to an agreement with the Chinese leader following years of speculation surrounding the fate of the beloved $14billion social media giant.

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In a major U-turn by Beijing – who once slammed the idea of giving TikTok to Washington as “robbery” – Chinese officials have now agreed to hand over the prized platform.

The landmark deal will separate the popular video-sharing hub from its Chinese parent company ByteDance – in a key step allowing TikTok to keep operating in America.

Trump said the agreement would comply with a bipartisan law that would have forced the app’s shutdown if it was not divested and sold to a US owner.

The US President said: “I spoke with President Xi and he said: ‘Go ahead with it.’

“This is going to be American-operated all the way.”

The groundbreaking plan will see US investors oversee the vast majority of TikTok‘s operations.

A coalition of American owners are expected to take charge of 80 per cent of the app – while Chinese investors will have a 20 per cent stake.

They will also gain a licensed copy of the cutting-edge recommendation algorithm retrained solely with US data.

The controversial digital recipe which shows users content based on their preferences previously stirred alarming concern among US officials.

China hawks warned the ByteDance-crafted algorithm could be weaponised by the CCP to influence content seen by hundreds of millions of Americans every day.

But US officials have failed to present any evidence proving China has ever attempted to do so.

The new US version of the spun off firm will be valued at $14billion, US Vice President JD Vance said.

But the new figure doesn’t compare to ByteDance’s overall valuation, which is estimated to stand at a staggering $330billion.

TikTok’s social media arch nemesis Meta, which owns Facebook and Instagram, is valued at $1.8trillion.

The new investing team will be spearheaded by US software giant Oracle.

The firm will oversee US operations for TikTok, provide cloud service for user data storage and obtain the elusive algorithm license.

The alliance of investors is set to include Oracle co-founder Larry Ellison, News Corp owner Rupert Murdoch and Dell CEO Michael Dell.

Trump said of the potential new owners: “Great investors. The biggest. They don’t get bigger.”

Vance said more details about who is involved in the huge deal will be announced over the coming days.

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The deal seemingly puts to bed months of legal limbo for the massively popular app, which is said to host some 180 million US users.

Trump has even credited TikTok with helping him win the 2024 presidential election – as part of his gamechanging social media campaign.

ByteDance and TikTok once faced widespread concerns from US lawmakers over national security and data privacy.

US officials alleged China could use the app to shape messaging and ultimately spread propaganda in an effort to undermine US democracy.

TikTok denied the claims, but Congress collectively agreed to force ByteDance to find a US buyer after a historic vote last year.

The supreme court unanimously upheld the ban in January – before Trump signed an executive order on his first day in office to postpone its removal from the US.

The US President also hinted at TikTok’s secure future last week, writing on Truth Social: “A deal was also reached on a ‘certain’ company that young people in our Country very much want to save.

“They will be very happy!”

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“House of Guinness,” as in the famous Dublin brewery, begins with the disclaimer “inspired by true facts,” which is another way of saying, “Don’t believe everything you’ll see.” Or, in “Dragnet”-speak, “Names have not been changed, and we have no desire or obligation to protect the innocent. This is a drama, and anyway, you can’t libel the dead.” The framing may be sound, but the portraits are imaginary.

The unchanged names in the series, which premieres Thursday on Netflix, belong to the four children of Benjamin Lee Guinness, whose grandfather created the signature porter in 1778. They are Arthur (Anthony Boyle), Edward (Louis Partridge), Anne (Emily Fairn) and Benjamin (Fionn O’Shea). As we begin, it is 1868 and Benjamin Lee, just deceased, has left the brewery in equal shares to Arthur, who has been away in London for five years losing his accent and finding peace, and Edward, who has been pretty much running the place. Anne, only a woman, and a married one, is basically skipped over; and Benjamin, who has problems with drink and gambling, is given a small allowance, because, as expressed in his late father’s will, “I feel it wise not to burden Benjamin with the temptations that come with fortune.”

As seen here, neither Arthur nor Edward, whose professional expertise is mostly represented by signing papers and occasionally walking around his factory — you won’t learn anything about how Guinness is made — seems capable of running a brewery. But all that really matters to the show is that each is a tortured romantic and will have to find a way to thrive in their uneasy, unasked-for partnership.

Indeed, as a viewer in search of entertainment rather than enlightenment, it’s best to treat these characters, however much attached they are to the real people whose names they bear, as entirely fictional. There are also, of course, characters mixed up in this business who have no factual counterparts, and by virtue of their fates not being written in books or Wikipedia pages, are subject to the whims of series creator Steven Knight (“Peaky Blinders,” “A Thousand Blows,”), creating opportunities for suspense that might otherwise be lacking.

Prime among these creations are Sean Rafferty (James Norton), the Guinness family fixer, a handsome brute whom the ladies like, and the beautiful, brilliant Ellen Cochrane (Niamh McCormack), a Catholic firebrand who sees a better way toward Irish independence than throwing rocks at old man Guinness’ hearse or setting beer barrels on fire; for some reason, the Fenians, epitomized by Ellen’s “bonehead” brother Patrick (Seamus O’Hara), a grating presence and no advertisement for the movement, have decided that targeting Guinness (rich, Protestant) is going to get them somewhere.

James Norton as Sean Rafferty in “House of Guinness.”

(Ben Blackall / Netflix)

Apart from the politics, the family squabbles and the not particularly worrying fortunes of the family business — I mean, you can still order a Guinness — the main concerns of this historical melodrama, this stout opera, if you will, are beating hearts and heaving breasts. Skeptically accepting a meeting with Edward in the spirit of detente, Ellen feels electricity sparking between them, and vice versa. (More acceptably, Edward also has eyes for his cousin Adelaide Guinness, played by Ann Skelly, who has none for him.) Ben, meanwhile, is beloved by Lady Christine O’Madden (Jessica Reynolds), who foolishly believes she can reform him. Well, we’ve all seen that story.

But wait, there’s more! In this telling, at least, Arthur is gay, which is a problem for him as a person living in a super-religious country in the late 19th century and as a representative of the family and their eponymous product. If his orientation becomes known, it is suggested, the world will cease drinking his beer, and the family will be forced to subsist on the millions of pounds they have in the bank and whatever they can scrape off the several estates they own around the country. (Whenever contemporary figures are mentioned, screen-filling subtitles translate the sum into its 2025 equivalent, just so you realize how freaking rich these people were. The budget of the series is not sufficient to make that readily apparent.)

Arthur’s “complication,” which is no secret among his nonjudgmental siblings, has made him A) a target for blackmail, and B) a person in immediate need of a wife, especially as he’s about to stand for his late father’s seat in parliament. Enter Aunt Agnes Guinness (Dervla Kirwan), the story’s yenta, and marriage prospect Lady Olivia Hedges (Danielle Galligan), who is quite happy to settle for a maximum of freedom and a modicum of responsibility, and who curses in a most unladylike fashion. (But, really, the F-words and the Sh-words fly everywhere in this show.)

And what about Anne, saddled with a degenerative disease and a less-than-sexy cleric husband? She’ll sublimate her own romantic heartache in urban renewal and other good works. (Factually, the family had a philanthropic bent, and the company was so far ahead of its time in treating its workers well, including pensions beginning in the 1880s — that gets a moment here — and providing medical care to staff and their families, that much of this country still hasn’t caught up. They were less evolved, however, for many years, when it came to hiring Catholics.)

What else? There’s a curious Hobbit of a character named Byron Hedges (Jack Gleeson), an illegitimate cousin who arrives to sell himself as the man to represent their interests in America, into which Edward is keen to expand; we get some scenes set in New York. There’s Potter (Michael McElhatton), the droll, dry butler, who looks askance upon the younger Guinnesses but stays loyal, like butlers do. And Bonnie Champion (David Wilmot), a charismatic crime lord who’s also involved in the company’s export business.

There’s nothing subtle about “House of Guinness,” which makes its points in declarative sentences — sometimes gussied up with Irish-y prose — and gives its characters hardly a moment to relax and enjoy their porter, swelling the soundtrack with aggressive modern Irish rock and rap to make it exciting to the people of 2025. The show can border on the cornball; the characters are the sort you might have seen in the sort of dramas popular in 1868. But the actors inhabit their roles with commitment, so that even the bad company is good company. Good craic, as they say over there.

STACEY Solomon has shared how she keeps her bouncy blow dry in place for more than a week after getting it done.

The mum-of-five retained her crown as the most relatable celeb in showbiz as she took to TikTok to post the exact routine she swears by.

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In the video, she said she was doing her best to get ready “as quickly as possible” for work, so had done her make-up in seconds and prepped her locks the night before.

“I didn’t wash it, but I just dampened it down,” Stacey said in a video on her TikTok page.

“It was, I had like a really old blow dry, and I’ve been trying to keep it in for a week.

“So I’ve just been putting my heatless curler in, and then going to bed with it, taking it out.”

Once taking the heatless curling rod out, Stacey, 35, used some of the REHAB. Essential Dry Shampoo on her roots – to absorb the grease and give her hair some extra texture.

She then ran her fingers through her hair, and grinned as she showed how it looked as though she’d had a “fresh, bouncy blow dry”.

“I wonder how long I can like this blow dry for,” she laughed.

“Like we’re on week one, I wonder if I can bring it into week two with my heatless curler.

“They’re just so good, and it just means I only have to destroy my hair with heat once every couple of weeks, because I can keep all of the curls in place, and keep it looking fresh with my dry shampoo and heatless curler.”

She finished off her speedy makeover with a swipe of lip oil, and then was ready to go.

“I want daily updates on the hair! BRING ON WEEK 2!” one person commented on the TikTok.

“You have such great hair,” another added.

“And it actually looks stunning!” a third praised.

“Go on girl!”

“I love the dry shampoo, it’s a life saver,” someone else said.

While others admitted they were more than a little jealous of Stacey’s finished look.

“I swear if I don’t wash my hair for two days on day three my curls look like rats’ tails!” one wrote.

“I have such hair envy! My hair doesn’t hold curl ever!” another added.

“OMG! You are so glamorous even when you’re not,” a third smiled.

“I get up looking like a badger’s bum!”

FORMER PM MARGARET THATCHER famously got by on just four hours’ kip, while wartime leader Winston Churchill hit the hay for just a few hours a night.

A study suggests the average person gets just six hours and 50 minutes sleep – and others are getting less than three hours.

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But a good night’s shut-eye doesn’t start with jumping into bed at a reasonable time, it begins the moment you open your eyes in the morning.

Confused? Here, physiologist and sleep expert Dr Nerina Ramlakhan, tells Ella Walker how she gets quality sleep.

4AM – Go back to sleep: Dr Nerina says: “There are two main hormones that govern our kip – the sleep hormone melatonin and cortisol, which is produced when we’re stressed and drives us to get things done.

“Cortisol levels start to increase from around 4am, so many people find they can go into a shallower phase of sleep.

“I wake around then but don’t look at the time. I place weighted yoga eye pillows over my eyes and get another phase of sleep.”

7AM – Wake up the right way: The circadian rhythm – the body’s internal 24-hour biological clock that determines your sleep-wake cycle – is important to Dr Nerina.

She says: “I like to wake up naturally, I don’t like the jangling of an alarm.

“I get some natural daylight, ideally not through glass, even just a few seconds. It helps adjust my circadian rhythms.”

8AM – Breakfast of proteins, fats and carbs: It might be the first meal of the day, but Dr Nerina is already prepping for her sleep.

Something sugary like a croissant can overstimulate the nervous system and ruin sleep later.

So Dr Nerina has full-fat Greek yoghurt with a mixture of chia and flax seeds soaked overnight.

Dr Nerina says: “Protein and fat provides sustained energy, fullness and supports stable blood sugar levels.

“It sets the body on the right metabolic trajectory, increasing the likelihood of optimal melatonin production later.”

9AM – Post-breakfast coffee: Even sleep experts are not afraid of caffeine but they are careful with it.

“I have caffeine either with food or after breakfast,” says Dr Nerina.

“I don’t tend to have more than one caffeinated drink a day, and that’s before midday.

“The half-life of caffeine is about five hours, so if you have a cup of coffee at 3pm, you’ll have half the amount in your blood supply around 8pm.

“It might not make you feel lively, but could impact the quality of sleep.”

11 AM – Mid-morning exercise: Working out too late can also disrupt sleep so Dr Nerina does hers early.

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She says: “I do strength training or go to the river and swim.

“Exercise is really important, otherwise I’m more stressed with too much mental energy.

“I don’t like exercising in the evening.

“It can overstimulate the nervous system and produce hormones like adrenaline and cortisol, which will disrupt sleep.”

1PM – Lunch of eggs and gut-friendly foods: Increasing research is showing the impact of microbiome health on sleep.

Dr Nerina says: “If your gut is healthy, you sleep better.

“Lunch for me is always something that won’t spike blood sugar levels like heavy carbohydrates (which turn into sugar) would. I like an omelette with salad and sauerkraut.”

5PM – Dinner: A healthy meal and fasting window can support better quality sleep and help manage your circadian rhythm.

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Dr Nerina says: “I’ll eat some fish, vegetables and rice. I do like something sweet, so it might be some dark chocolate.

“A few days a week, I try intermittent fasting, having my last meal at 5pm. Other times, I eat no later than 7pm.”

8PM – Turn down the lights: Bright light tells your body to wake up, even in the evening, so turn the main lights off.

Dr Nerina says: “I might watch TV and turn the lamps on instead.

“I go to bed around 9pm, my device is switched off, charging outside my room, and I keep the room as cool as possible.

“I take a magnesium supplement now too, which helps relax the nervous system and muscles.”

10PM – If drifting off is tricky: It should take 15 minutes to fall asleep.

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“If you have any trouble, Dr Nerina says: “I use some box breathing to help me fall asleep.

“If I’m really stressed, I do ten minutes of journaling before I turn the lights out.

“Stress journaling has been shown to reduce the time it takes to fall asleep.”

There are lots of reasons to like PepsiCo (PEP 0.77%) as a possible investment for your long-term portfolio. One of the best reasons is its generous dividend yield — recently at 4.1%. That yield is far above the S&P 500‘s recent yield of just 1.2%, and better still, it’s a payout that’s been growing at a good clip — an annual average of more than 7% over the past decade.

But wait — there’s more! Its payout ratio — the percentage of earnings paid out in dividends — was recently quite reasonable, too, at 67%. That leaves plenty of room for further growth. (PepsiCo has upped its dividend for 53 years in a row!)

Image source: Getty Images.

Many people might imagine PepsiCo as mainly a beverage business, but they’d be wrong. It’s very much a snack business, too, with brands such as Lay’s, Doritos, Cheetos, and Quaker alongside Gatorade, Pepsi-Cola, Mountain Dew, and SodaStream. PepsiCo has a new pending acquisition, too, of the prebiotic soda brand Poppi.

PepsiCo’s stock looks appealing at recent levels, with a forward-looking price-to-earnings (P/E) ratio of 16.5, well below the five-year average of 21.9. The low valuation is due to the stock having slumped in recent years, as it tries to adapt to changing tastes. It’s doing so, including via the Poppi acquisition, and it’s cutting costs, too.

Chairman and CEO Ramon Laguarta recently noted:

As we look ahead, we will continue to build upon the successful expansion and growth of our International business and accelerate initiatives to improve our North America business performance. These initiatives include more portfolio innovation and cost optimization activities that aim to stimulate growth and profitability. As a result, for fiscal 2025, we remain confident in our ability to deliver low-single-digit organic revenue growth…

This could be a great time to snag some shares if you’re bullish on PepsiCo’s long-term potential.

ITV is currently going through major changes with a number one Good Morning Britain star reportedly set for ‘major change because she was solely contracted for GMB’

As ITV gets set for major changes, one Good Morning Britain star could be seeing their job change dramatically. Charlotte Hawkins, 50, has been a mainstay on the breakfast show for over a decade, but changes are in the air.

Charlotte is set to take news shifts across the ITV schedule, and made her News at Ten debut last week. It appears as though it will be the first of many appearances as part of the daytime merger with ITN.

According to a source, Charlotte will now read the news across the schedule. It will see her contract change from what viewers have been used to over the past 10 years.

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The source told the Sun : “She’ll still read on GMB but also the lunchtime, evening and News at Ten. It’s a major change because she was solely contracted for GMB.”

The claims came as ITV’s daytime staple shows are set to have a huge shake up in coming months. As well as GMB coming under scrutiny, Loose Women and Lorraine are going to face cuts as part of the new cost-saving measures.

From 2026, Lorraine Kelly’s morning programme is to be shortened to a 30-minute slot. It will air from 9.30am to 10am rather than its current hour-long format.

As well as a cut in episode time, the show will also only be broadcast for 30 weeks out of the year. This will reportedly mean the stand-in hosts who currently replace the Scottish presenter when she is on holiday will be out of a job.

Lorraine recently professed her love for working in telly and told fans she is “not done yet” despite the cuts. On Tom Kerridge’s Proper Tasty podcast, she said: “I’ve been around for so long. I’ve been doing telly for over 40 years. It’s mad isn’t it?

“It’s absolutely crazy. I started in breakfast telly in 1984, and I’m still getting away with it. Extraordinarily. 40 years in TV last year was incredible. I got a BAFTA. ‘Here’s a BAFTA for being alive.’ I thought, ‘Hang on a minute, I’m not done yet.’

Loose Women is also facing significant changes. Like Lorraine, the lunchtime talk show will soon only be airing “on a seasonal basis for 30 weeks of the year” according to ITV bosses.

The decision sees the show ditch some of its mainstay moments too, including its live studio audience. It’s thought the decision will also reduce its line-up of panellists as part of the shake-up.

Despite the change in regular shows, bosses believe new episodes of The Chase, the channel’s top-rated quiz show, will help. The show is set to be filmed over four months later this year, with production company Potato currently recruiting crew to work on the show between September and December.

Meanwhile, Tipping Point fans can breathe a sigh of relief after speculation that the show might be axed. No new episodes were recorded last year, which left fans concerned about the future of the series.

While the shows are facing changes, several past favourites are set for a more prominent place on the channel. It has been confirmed that new episodes of The Chase, Tipping Point and Deal or No Deal will be filmed later this year, which means the shows have secured a broadcasting slot in 2026.

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Stock markets have come a long way from the stereotypical trading floors we may know from the movies and TV. Most trading is electronic these days. And, while the New York Stock Exchange and Nasdaq still ring an opening and closing bell, it’s largely symbolic. After-hours trading in various forms is increasingly common and could soon become the norm.

Several established brokers already offer after-hours trading. Key exchanges and infrastructure providers are looking for regulatory approval to extend their hours of operation. And Sept. 29 will see the launch of the new, SEC-approved, 24X National Exchange. This will initially trade U.S. equities from 4 a.m. to 8 p.m ET every weekday.

But just because you can trade at almost all hours, should you?

Image source: Getty Images.

Is 24/7 trading a good thing?

The convenience of being able to manage your portfolio at an hour that suits you is one of the biggest benefits of extended trading. Regular market hours of 9:30 a.m to 4 p.m. ET may not suit many retail investors who can’t easily trade during office hours. That’s even more so for international investors who own U.S. stocks and live in a different time zone.

Depending on what type of investor you are, there’s also an appeal to being able to react to events as they unfold — we live in a 24-hour news cycle and the current after-hours and pre-market trading sessions will only take you so far.

Perhaps a company just issued a disappointing earnings release or announced a change in leadership that you think will impact its performance. Maybe there’s other breaking news such as trade deals, overseas developments, or economic data that might significantly impact a particular business. Extended trading hours give you a chance to react as things happen.

Drawbacks of 24/7 trading

On the other hand, trading outside the regular hours can carry more risk and prove costly. People are more likely to make emotional investment decisions when they can trade at any time they want, whether that’s panic selling or impulse buying. This can damage your portfolio in the long run.

Another big issue is that there isn’t as much liquidity. If you’re trading outside of regular hours, you may not be able to execute the trades you want. And if you can, you may find there’s a wide bid-ask spread. With fewer people trading, the gap can widen between what investors are willing to pay and the price the seller wants.

In terms of prices, thinner order books can translate to increased volatility. Price discovery is also harder. The securities information processors (SIPs) that collect and distribute real-time data don’t yet operate out of hours, so you may find two different systems give different prices.

Finally, if you plan to trade out of hours today, many brokerages have restrictions on which equities you can trade and what types of orders you can place. For example, Charles Schwab (SCHW 1.08%), one of the leaders in extended trading, will only take limit orders during non-traditional hours. Similarly, Robinhood (HOOD 3.13%) doesn’t offer fractional trading on all its securities and only supports certain order types in extended or overnight trading.

Round-the-clock trading is coming

A mix of forces is driving us closer to 24-hour trading. Those include technological advances, shifts in regulatory attitudes, globalization, and investor demand. Most recently, the SEC and Commodity Futures Tradition Commission said extended trading is a joint priority. Even so, we’re more likely to see 22-hour or 23-hour trading windows on weekdays than a full shift to 24/7 markets.

Here are some of the drivers toward extended trading hours:

• Tokenized assets are gaining traction. These are essentially a way to issue a token that represents ownership of anything from real estate to equities to online art. They originated in the cryptocurrency world, but are starting to have an impact on all asset classes. One of the attractions of the blockchain is that it doesn’t have set trading hours.
• Nasdaq hopes to launch 24/5 trading by the second half of 2026. It says it is working with regulators and infrastructure providers to make this possible. The exchange is also awaiting SEC approval for tokenized stock trading.
• The NYSE wants to offer 22/5 trading on NYSE Arca, its electronic trading system. If regulators approve, it wants to extend its hours from 1:30 a.m. to 11:30 p.m. ET every weekday. The idea is to launch at the end of next year.
• Back-end infrastructure is shifting to accommodate longer hours. The SIP operating committees have asked the SEC to approve plans for 23/5 operations. Clearing houses are doing the same. This would give investors the information they need to trade effectively, no matter the time.

Not quite 24/7, but nearly

We’re on the cusp of a seismic shift in how markets work. Exchanges, SIPs, clearing houses, and brokerages are all laying the groundwork for systemic change that will make after-hours trading more normal.

As an investor, it’s worth thinking about how this might impact your activities. That includes making a plan to handle breaking news and avoid panic decisions, understanding what brokerage automation tools might help, and being clear on how longer trading windows might fit with your goals and strategies.

It is tempting for a dividend investor to simply select the highest yielding stocks. The problem with that approach is that it exposes you to the risk of dividend cuts if the yield is too high for the company to support.

Which is why dividend lovers also need to consider dividend history as they look at a company. And, when you do that, you’ll find that companies like Pfizer (PFE -0.50%), which has a huge 7.2% yield, don’t match up to companies like Johnson & Johnson (JNJ 1.03%), Omega Healthcare (OHI -0.50%), and Merck (MRK -0.03%).

Here’s what you need to know about these three healthcare dividend stocks.

Image source: Getty Images.

1. If you need the money to live, dividend reliability is key

Pfizer is actually a well-run company. Sure, it is facing hard times right now, but it has dealt with difficult periods before and survived. It is highly likely that it will do so again, noting that some of the issues it is dealing with are a natural part of the pharmaceutical industry. For example, patent expirations are on the horizon, and it needs to find new drugs to replace older ones. Investors rightly worry about such patent cliffs, but they aren’t the least bit unusual for drug makers.

That said, Pfizer’s huge 7.2% dividend yield is also a reflection of the downbeat view among regulators and consumers around vaccines. So there’s more to watch here than the normal industry swings. But the same things could, largely, be said of Merck, one of Pfizer’s competitors. The drugs and vaccines in question are different, but the worries are basically the same. You could easily buy either one if you wanted exposure to the pharma sector. Why pick Merck and its less impressive, though still high, 4% yield?

The answer is simple. Merck has a long history of supporting its dividend even through difficult periods. Pfizer cut its dividend in 2009 when it bought Wyeth. The acquisition was good for Pfizer, but the dividend cut was terrible for income investors. If dividend consistency matters to you, Merck wins here.

Data by YCharts.

2. Omega Healthcare has survived the hardest of times

If Merck’s dividend resilience over time impresses you, you’ll probably find Omega Healthcare even more exciting. The company owns senior housing facilities, which were hard hit during the COVID-19 pandemic. To put it simply, older people in group settings were at severe risk of dying from the pandemic. That had the exact negative impact you would expect on nursing homes and similar properties. And yet Omega Healthcare, a senior housing-focused real estate investment trust (REIT), didn’t cut its dividend like many of its competitors.

It didn’t raise the dividend, either, but it did stand behind the payment, realizing that investors were relying on that quarterly check. That should make Omega’s nearly 6.4% yield look a lot more attractive, even for more conservative dividend investors.

Data by YCharts.

And don’t forget that the pandemic is now mostly in the rearview mirror. The second quarter of 2025 saw Omega invest in new assets, which should help spur growth and post an 8% year-over-year increase in adjusted funds from operations (FFO). With the business looking like it is on the mend, the dividend is likely more secure now than it has been in years.

3. The Dividend King approach

If you are looking to stick to only the most reliable of dividend companies, however, then you’ll want to buy a Dividend King. These are stocks that have raised their dividends for over 50 years. Johnson & Johnson’s string of over 60 annual dividend increases makes it the healthcare stock to beat when it comes to dividend reliability. Of course, investors know how reliable this drug and medical device maker is, so the stock is usually afforded a premium valuation. Right now, the yield is around 3% or so, the lowest on this list. However, it is still higher than the 1.7% yield of the average healthcare stock, making J&J a good pick for investors who place a high value on dividend consistency.

Clearly, Johnson & Johnson has its own warts to consider. For example, it faces all of the same issues in the pharma space as Merck and Pfizer. It is also dealing with a lingering class action lawsuit around talcum powder that it once sold. So even this Dividend King isn’t risk-free. But if history is any guide, you can count on the dividend continuing to be paid through thick and thin.

Don’t just jump at the highest yield

Although there’s nothing particularly wrong with Pfizer, a comparison to Merck, Omega, and J&J shows that a high yield isn’t the only factor you should consider if you are looking for a good dividend stock. If reliable dividend stocks are what you want populating your dividend portfolio, you will clearly want to look past Pfizer’s yield. And when you do that, you’ll likely find that Merck, Omega, and Johnson & Johnson all offer a more compelling combination of income reliability and yield.

Remember the vaunted Trump-Putin summit? It was just a month ago this week, but Americans could be excused for having forgotten. Nothing good has come of it. The cringy Alaska photo-op for the American and Russian presidents certainly didn’t yield President Trump’s long-promised deal to end Vladimir Putin’s criminal war on Ukraine.

In fact, as each day since has shown, worse than nothing has come from that failed bro-fest. Which begs renewed attention to it. Putin arrived to Trump’s literal red-carpet welcome and left with an apparent if unstated license — as then-candidate Trump said last year of the Russians — “to do whatever the hell they want.”

And they have.

On Tuesday last week, a Russian bomb hit a group of Ukrainian retirees collecting their pension checks, killing two dozen and injuring more — another day’s civilian toll in Putin’s ongoing offensive, the harshest in more than three years of war and one that’s struck U.S. and European installations. The next day, stunningly, about 20 Russian drones flew over next-door Poland, a NATO ally, forcing the alliance to scramble jets to shoot down threats over its territory for the first time in NATO history.

And mostly we’ve heard bupkis from Trump — except to keep blaming the war on his predecessor President Biden and Ukrainian President Volodymyr Zelensky, never Putin. Even servile Senate Republicans have roused themselves to press for punishing sanctions against Russia, but Trump withholds his blessing.

You’d think the self-proclaimed “president of peace” would at least be riled that Putin’s impunity since Alaska is a stick in the eye to Trump’s wife as well. Melania Trump wrote Putin a letter — which Trump delivered at their summit — urging him to protect children. “It was very well received,” Trump boasted later.

Oh, yeah? Putin’s public response to the first lady has been missiles and drones that have killed and injured Ukrainian children in their beds and at their schools. Meanwhile, nearly 20,000 Ukrainian children remain kidnapped in Russia, a war crime.

What a tragic irony that the president who promised he’d end the Ukraine war on “day one,” and who incessantly contends Russia never would have invaded had he, Putin’s friend, been president in 2022, now presides over Russia’s escalation of the war and its unprecedented incursion into NATO territory. And Trump acts all but impotent.

For three years until his return to power, Russia did not test the United States’ pledge to “defend every inch” of NATO territory. Now it has. And at the news of the Poland intrusion, Trump, the supposed leader of the free world, showed himself to be little more than an internet troll.

“What’s with Russia violating Poland’s airspace with drones? Here we go!” was his online outburst long hours after the news last Wednesday. The next day he suggested the drones’ flight into Poland “could have been a mistake,” provoking rebuttals from Polish leaders and NATO allies. And when NATO’s European members last Friday reinforced the alliance’s eastern flank defenses against Russia, they announced no U.S. contributions.

Much was made last spring of Trump’s nickname among some Wall Street types for his on-again, off-again tariffs: “TACO,” for Trump Always Chickens Out. But that moniker better describes Trump’s Russia stance: He repeatedly sets up a face-off against Putin, and invariably face-plants.

For weeks ahead of the August summit, Trump threatened “extreme consequences” if Russia didn’t agree to a cease-fire. Then, as quickly as U.S. soldiers rolled out the red carpet for Putin, Trump rolled up his cease-fire talk. After hours under Putin’s sway, he came away talking not about what Russia would do for peace but what territorial concessions Ukraine would make. And a month later, he’s still resisting Congress’ proposed sanctions against Russia, even as he’s levied big tariffs on India and China in part as punishment for buying Russian oil.

Nothing Trump claimed would happen as a consequence of his summitry has come to pass. Not a meeting between Putin and Zelensky, nor a trilateral follow-up with the Nobel-coveting Trump joining as mediating peacemaker. Putin has had high-level meetings since the Alaska summit, but they’ve been with Chinese President Xi Jinping, Indian Prime Minister Narendra Modi and North Korean dictator Kim Jong Un — all drawn closer in solidarity against the United States’ hegemony.

Trump’s embarrassingly weak response to Russia’s aggression, together with his passivity in the face of Israel’s defiance in renewing its offensive in starving Gaza, recently prompted a New York Times analysis declaring “the bystander phase of the Trump presidency.” A Wall Street Journal headline said Trump is “sidelining himself” in foreign policy. On Wednesday, New York Times columnist Thomas L. Friedman wrote that, just as Trump sought to rename the Department of Defense to be the Department of War, the White House should be called “Waffle House.” (Or Taco Bell?) The criticisms are international: Poland’s deputy prime minister, Radoslaw Sikorski, said in a video last week that Putin, by his hostilities, is “mocking” Trump’s peace talk.

There’s mockery indeed in Moscow, where politicians and state-run media continue to celebrate Putin as the summit winner. Russians weren’t quaking in their valenki when Trump told “Fox & Friends” hosts on Friday that his patience with Russia is “running out fast.” Alexei Zhuravlyov, a leader of the Russian State Duma, said Trump’s “normal state” is “either waiting to talk to Putin, talking to Putin or explaining how well he talked to Putin.” Pundit Mikhail Rostovsky dismissed Trump’s fussing and threats as “a new ‘Groundhog Day.’”

“The Kremlin believes that Russia is slowly but surely achieving its goals in Ukraine,” Rostovsky added. “Therefore Moscow does not intend to stop there.”

Putin has said as much himself. Only Trump doesn’t seem to hear him. Or doesn’t want to.

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Robert Redford looked like he walked out of the sea to become a Hollywood god. He was physically flawless. Pacific blue eyes, salt-bleached hair, a friendly surfer-boy squint. Born in Santa Monica to a milkman and a housewife, his first memory was of sliding off his mother’s lap at the Aero Theatre as a toddler and running toward the light, causing such a ruckus that the projectionist had to stop the film.

He definitely grew up to grab the movies’ attention. He wasn’t just telegenic but talented, although that wasn’t a requirement for stardom when he emerged in the late ’50s when the industry was scooping up hunks like him by the bucket for television and B-movies. All a male ingenue needed to do was smile and kiss the girl. It would have been so easy to do that a couple times and wind up doing it forever. You can understand why so many forgotten actors made that deal, without realizing that forever can lead to a fast retirement.

But if Redford had sensed at 2 years old that he was meant to be onscreen, by his 20s, he insisted he’d only do it on his own terms. At 27, with nearly zero name recognition, he horrified his then-agent by turning down a $10,000-a-week TV gig as a strait-laced psychiatrist to do a Mike Nichols theater production for just $110. His rejection of the easy money was an unusual choice, particularly for a cash-strapped father of two.

To appreciate Redford fully, we have to applaud not only the work he did but the simple, feel-good roles he rejected. He could have become a celebrity without breaking a sweat as the war hero, the jock, the husband, the cowboy, the American ideal made incarnate. Yet, he had the rare ability to sidestep what audiences thought we wanted from him to instead give us something we didn’t know we needed: selfish victors (“Downhill Racer”), self-destructive veterans (“The Great Waldo Pepper”) and tragic men who did everything right and still failed (2013’s “All Is Lost”).

In spirit, Redford never strayed far from the teen rebel he’d been — a truant who’d skipped school, stole booze and crashed race cars — and the radical artist he hurled himself into becoming by quitting everything traditional (the football team, his fraternity, college altogether) to move to Paris where he took up oil painting and marched against the Soviets. He might have excelled at the sleazy roles that made Dustin Hoffman and Al Pacino famous. On the outside, he knew they didn’t fit, either.

Sometimes Redford said no even when I wish he’d have said yes. Imagine if he’d agreed to face off against Elizabeth Taylor and Richard Burton in “Who’s Afraid of Virginia Woolf?” Instead, he told Nichols he’d rather tangle with Anne Bancroft in “The Graduate,” only to be rejected as too handsome for the role. “Can you honestly imagine a guy like you having difficulty seducing a woman?” Nichols told him.

Instead, Redford used his all-American good looks to make us question our flattering image of ourselves. In the 1974 adaptation of “The Great Gatsby,” he was the first person you’d think of to play the title role because he fully understood the point of F. Scott Fitzgerald’s book — how it felt to represent our country’s whole image of success while knowing it’s a phony put-on. I imagine him making a devil’s bargain with his face, vowing that he won’t hide behind goofy accents and stunt wigs the way other too-handsome oddballs do, if he’s allowed to use his appeal like a Trojan horse.

If there’s one thing that unites his roles, from 1966’s “The Chase” to “Lions for Lambs,” it’s his willingness to give the screen his full charisma — to let audiences stare at him for the whole running time of a movie — as long as we’ll agree to ask what’s lurking in his underbelly. Most often, we’ll find frustrated idealism just at the moment it starts to sour.

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The films of the 1960s and ’70s that made Redford an icon mostly cleave into two categories: scamps and truth-seekers. (The latter can overlap with suckers and stooges.) His antihero crooks in “Butch Cassidy and the Sundance Kid” and “The Sting” captured something in our national id, our not-so-secret belief that it’s OK to break a few rules to get ahead — that we can forgive a sin if we like the sinner. I like how those movies give you a guilty little tingle about rooting for Redford even when it means scratching off a couple of the Ten Commandments. (Thou shalt not steal unless you’re Robert Redford, who got away with it all the way through 2018’s “The Old Man and the Gun.”)

Lately, the Redford roles I’ve been thinking about are the ones where his all-American appeal makes us examine all of America, good and bad. The two that instantly jump to mind are his pair of political thrillers: “Three Days of the Condor,” in which he plays a CIA agent on the run from his own co-workers, and “All the President’s Men,” in which he doggedly uncovers the Watergate scandal. Both films believe in the power of getting the truth out to the press; neither is so naive as to think the truth alone will save the day.

But let’s not overlook “The Candidate,” a movie that has Redford as underqualified political scion Bill McKay, pressed to run for governor of California. “He’s not going to get his ass kicked — he’s cute,” his father (Melvyn Douglas) says. Meanwhile, his own campaign team cares more about the length of his sideburns than ideas in his head. Released in 1972, five years into former actor Ronald Reagan’s own governorship, the movie hammers home that superficiality might be democracy’s downfall — and the stakes are bigger than who is Hollywood‘s latest heartthrob.

Vice President Dan Quayle once said “The Candidate” inspired him, triggering its screenwriter Jeremy Larner to dash this off in an op-ed: “Mr. Quayle, this was not a how-to movie, it was a watch-out movie. And you are what we should be watching out for!”

In his later years, Redford became a filmmaker himself and I can picture him pulling Brad Pitt aside on the set of “A River Runs Through It” to whisper: You don’t have to stay in that pretty–boy box. Feel free to get weird. As an actor and director, Redford continued to create characters who uncovered our our hidden rot, whether in our purported national pastime, baseball (“The Natural”), or in our actual one, watching television (“Quiz Show”). His turn in “Indecent Proposal” as the wealthy man who offers to rent his employee’s wife lives on as shorthand for tycoons who assume they can buy whatever, and whoever, they want. When he eventually signed on for a superhero film, it was, fittingly, alongside Captain America, that upright paragon of virtue — and Redford played the villain.

What Quayle missed about “The Candidate” is that when it comes to a Robert Redford movie, truth is never as plain as what your eyes can see. There’s always a deeper level and there’s no guarantee that justice would win. In fact, I’d argue in Redford’s films, it rarely does.

It is proving a popular addition to the streaming giant’s library

Mayfair Witches season one trailer

Netflix fans are all watching a creepy thriller that’s been described as ‘so bad it’s good’.

The first season of Mayfair Witches has just recently been included as part of the streaming giant’s extensive offering. In just a matter of days, it has become one of the most watched titles among subscribers.

At the time of writing, it is currently seventh in the top 10 series in the UK. It is sandwiched between Hostage and My Life With the Walter Boys. It seems despite a middling 59% rating on Rotten Tomatoes, Netflix viewers just can’t get enough.

There’s also good news for those without a subscription to the platform. That is because all episodes are also available to stream for free on BBC iPlayer.

Based on the series of novels Lives of the Mayfair Witches by Anne Rice, who also wrote Interview With the Vampire, the series follows renowned neurosurgeon Rowan Fielding.

She has developed a serious problem, however. When she gets mad, she kills with her mind.

Across eight episodes, she undergoes a search for answers which leads her to New Orleans, the home of her biological family. Here she discovers she the heir to a family of witches which has been haunted by a sinister presence for generations.

That presence is the spirit Lasher. Ciprien (Sip) Grieve, a devoted agent to the Talamasca, is assigned to protect Rowan.

He soon realises he’s in way over his head as secrets are revealed that could tarnish Rowan’s family and his role in the Talamasca. As Lasher’s seduction of Rowan deepens her role in an ancient prophecy becomes clear. This prophecy culminates in the birth of Lasher.

Rowan is determined to develop powers to fulfil her purpose as a healer, but when tragedy strikes, she must put aside her own desires and fight to save her family. The show features Alexandra Daddario in the lead role, who has previously appeared in True Detective and The White Lotus.

The eight-part first season is described by Netflix as ‘imaginative and suspenseful’, while other critics have dubbed it a ‘creepy thriller’. While one reviewer noted that period drama fans should find something to enjoy just as much as fantasy buffs due to how it moves its story back and forth in time.

While someone else praised the lead star performance and genre bending impact: “Daddario, who was a standout in the first season of HBO’s The White Lotus, makes an appealing lead in the eerie gothic series, which leans on its horror roots.”

Watch Wednesday on Netflix for free with Sky

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Wednesday.

Plenty of fans have also shared their recommendation. One said: “From the first episode, I was hooked—the storytelling unfolds in such an intriguing way, keeping me captivated as each new piece of the mystery falls into place.

“If you’re on the fence about watching because of the reviews—give it a chance. You might just find yourself just as enchanted as I am.”

Another added: “As someone who hasn’t read the novels & loves fantasy that takes hints from real life – I recommend it to all those who might have enjoyed series like Sabrina on Netflix.”

Meanwhile, others have acknowledged the show’s flaws but still give it their approval. One person simply noted: “Mayfair Witches is so bad but so good.” In agreement, another replied: “This is where I’m at. I can’t quit.”

Mayfair Witches is streaming on Netflix and BBC iPlayer.

Mario is headed to outer space for his next cinematic adventure.

Nintendo held a supersized livestream of announcements Friday commemorating the 40th anniversary of “Super Mario Bros.”: The first game in the popular franchise was released in Japan in September 1985. Among the news items shared by the company’s video game maestro Shigeru Miyamoto is that the sequel to “The Super Mario Bros. Movie” is officially titled “The Super Mario Galaxy Movie.” The follow-up to the 2023 blockbuster is slated to hit theaters in April.

“What kinds of adventures do you think Mario and his friends will have in space?” Miyamoto, who created Nintendo’s iconic mustachioed hero, said during Nintendo Direct after sharing a brief teaser for the film. “This movie will be the main event of the ‘Super Mario Bros.’ 40th anniversary.”

“The Super Mario Galaxy Movie” is another collaboration between Nintendo and the animation studio Illumination. During the livestreamed announcement, producer and Illumination chief executive Chris Meledandri shared that “while the ‘Super Mario Galaxy’ games are the core inspiration for our story, this next film holds surprises for fans of every Mario era.”

“The Super Mario Bros. Movie” directors Michael Jelenic and Aaron Horvath are once again at the helm for “The Super Mario Galaxy Movie.” Also returning are cast members Chris Pratt (Mario), Anya Taylor-Joy (Princess Peach), Charlie Day (Luigi), Jack Black (Bowser), Keegan-Michael Key (Toad) and Kevin Michael Richardson (Kamek), as well as composer Brian Tyler.

The announcement did not mention whether Lumalee — the cheerfully nihilistic star-shaped blue being that Luigi meets during “The Super Mario Bros. Movie” — will return for the sequel, but the teaser did include a glimpse of a yellow Luma. So it’s impossible not to hope that the character will have some sort of role in “The Super Mario Galaxy Movie,” since the star-shaped creatures appear in both the 2007 video game “Super Mario Galaxy” and its 2010 sequel. While the character in the movie had memorable one-liners about “the sweet relief of death” and how “hope is an illusion,” in the games these blue Lumas are more helpful merchants of life.

New characters likely to debut in the sequel include Rosalina, a sort of guardian of the cosmos and caretaker of the Lumas who first appeared in the “Super Mario Galaxy” game, as well as Yoshi, the dinosaur-like character who can grab faraway objects — and foes — with his tongue. Yoshi was teased in “The Super Mario Bros. Movie’s” post-credits scene.

The success of films like “The Super Mario Bros. Movie,” which grossed more than $1.3 billion worldwide, is among the reasons Hollywood has recently pivoted to more video-game inspired fare. The “Super Mario” movie sequel was first announced in 2024.

Good Morning Britain has seen a string of changes recently, and one star has now made an announcement that has sparked concern among viewers.

It appears that some Good Morning Britain viewers are concerned that a familiar face might be departing the programme, amid the sweeping shake-ups at ITV.

The popular breakfast show, which recently witnessed presenter Susanna Reid praising an ITV legend live on air, revealed plans to extend their broadcast by an additional 30 minutes starting January 2026.

Additionally, the programme will be produced by ITV News at ITN from their London headquarters and created by a team operating within ITV News at ITN.

Nevertheless, it seems one Good Morning Britain presenter has strong ties to ITN, having initially joined the organisation back in 1999 before returning to their studios this weekend to present ITV news bulletins.

Charlotte Hawkins, who regularly hosts Good Morning Britain, posted on social media on Saturday, sharing a snap of her old ITN security pass alongside a more current photograph, reports Wales Online.

She wrote: “Do not adjust your sets.. a guest appearance from me presenting the @itvnews this weekend! I was first here at ITN back in 1999, working on ITN Radio, and then this security pass is from when I worked on the ITV News Channel.

“A lot has changed over the years.. including the hair! Next update is just after 10pm see you then.”

Yet her appearance sparked confusion amongst some viewers, with one person wondering what this means for her Good Morning Britain future, following a series of budget cuts.

One fan commented: “You will be there all the time soon when GMB becomes part of ITN.”

One fan queried: “Wow this is amazing Charlotte watched u this afternoon u were superb. Will we see u do more weekends in future occasionally.”

Former Good Morning Britain director Erron Gordon commented: “A much more palatable time of day for a change. Love to see this!!”

To which Charlotte responded: “Yes, bit of a change to having an early alarm!! Thanks Erron xx.”

On X, one viewer asked: “Are you leaving @gmb for @itvnews??? Was a nice surprise when I put the news on.”

Another viewer remarked: “It was lovely to see you on the early evening news, Charlotte. I thought I’d missed a career change!”

While another person noted: “It could confuse some people, imagine going for a nap, waking up and seeing you on you would think how long was I sleep.”

Good Morning Britain is available to watch on ITVX.

Like all great crime writers, Lou Berney knows that a ripping story is only as good as the characters that make it rip. With his new novel “Crooks,” Berney has created a family saga about a small-time operator named Buddy Mercurio, his pickpocket wife Lillian and their five children.

As Buddy’s brood leave the nest and stake their claim in the world, his patriarchal shadow looms large, and the sins of the father are hard to kick. I chatted with Berney about his sixth novel, crime and why smartphones are his worst enemy.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Lou Berney, author of “Crooks: A Novel About Crime and Family.”

(Lou Berney)

How did you come to crime novels?

The writers I love tend to be crime writers. I really got turned on my freshman year of college to Flannery O’Connor
and that just kind of blew my mind. To me, she’s the greatest crime writer ever. “Wise Blood,” “A Good Man is Hard to Find,” “Everything that Rises Must Converge.” Every one of her books has elements of a crime novel in them that she does really interesting things with. 


But you started as a more traditional literary writer.

My first story was in “The New Yorker” when I was in grad school. I was writing straight literary fiction. Then I started writing screenplays and learning more about plot and storytelling. I just kind of settled into this idea of crime, which to me is the one genre where you can do almost anything you want. It’s such a big tent. And so it was a great way for me to embrace the limitless, essentially.

What about traditional crime writers? Who moves you?

A big influence was Elmore Leonard. Also Jim Thompson, who was a fellow Oklahoma writer. Those are two guys that really, really affected me. But the current state of crime fiction is just awesome. I love so many contemporary crime writers right now. Sara Gran,
Kate Atkinson, Megan Abbott, S.A. Cosby. This is a golden age in some ways for weird, interesting crime fiction that takes you to different places. 
Everybody’s kind of doing their own thing, which I really love.

Are you a Walter Mosley fan?

A huge fan. I got to work with Walter this year. I wrote for a TV show called “The Lowdown” which was created by Sterlin Harjo, who created “Reservation Dogs.” Walter and I were the two novelists in the writers room, six hours a day for 20 weeks, and I just got to hear Walter Mosley talk. The guy is a genius. His thoughts on writing are just mind-blowingly good. So I got paid for an education.

I love the Mercurios. I feel like part of the appeal of a family like this is that they are everything most of us are not: They are bold risk–takers who dive into things without fear.

In writing about the Mercurios, I was getting to vicariously live these lives that were enormously appealing to me. You know, I don’t want to be a criminal and I would probably make a bad criminal, but it’s sure fun to sort of live without rules and live without fear and be reckless and do whatever you want.

“Crooks” is set in the pre-camera phone era, when life had an entirely different texture, and information traveled slowly.

I was walking through the airport yesterday, and it was so demoralizing to see every single person on their phone, with literally no exceptions. Everyone walking, sitting and standing were on their phones, and I thought, “Man, I’m glad I’m old enough to remember when none of that existed,” because that was way, way more interesting to me as a writer.

I love the chapters that are set in ’80s Los Angeles. How did you conjure all of that up?

I read a lot of old magazines. Los Angeles magazine was great. I got all the old issues on EBay. And I have a friend who grew up in the ‘80s in L.A., so I ran some stuff by him. I just love research. I wasn’t into homework as a kid at all, but now I’ve discovered that if it’s homework I need to do for a book, I’m all about it.

The novel is divided into six parts, and every section is so deftly plotted. How difficult is the plot for you?

I do extensive outlining so I can get a sense of plot. But I end up probably changing 75% of it as I go. With this book, the Jeremy chapter worked perfectly, whereas Alice took me like three times as long as any of the other chapters, because I had to keep figuring out how she was going to outsmart this guy, and nothing was working or wasn’t fitting right. It really depends on the particular kind of plotline.

📰 The Week(s) in Books

(Jay L. Clendenin / Los Angeles Times)

Julia M. Klein thinks Daniel Pollack-Pelzner’s biography of Lin-Manuel Miranda does a fine job of probing the inner artist, a “joyous, charismatic, well-meaning, occasionally imperfect man.”

Samantha Fink sat down with Elizabeth Gilbert to discuss her new memoir “All The Way to The River.”

With Oasis and Pulp on the road, Dave Rowntree makes sure his group Blur gets a hand in the Britpop Revival with a book of band photographs.

And finally, our reviewers pick 30 Fall books that everyone must read.

📖 Bookstore Faves

A book-loving cat wanders through the aisles of Small World Books located on the Venice Boardwalk.

(Adam Lipman)

Small World Books is the grandaddy of indie book stores in L.A. Established in 1969 on the Venice Boardwalk, the store has always been well-curated and loaded with a diverse array of titles. We spoke with manager Adam Lipman about what customers are snatching up.

What’s selling right now?

The new RF Kuang, “Katabasis,” is selling really well, as is the new Taylor Jenkins Reid, “Atmosphere,” and it’s been hard to keep in stock “Daughter Mother Grandmother and Whore” by Gabriela Leite.

What are some popular genres that your customers like?

Romantasy, horror and architecture are getting snatched up right quick these days.

And those that love poetry are always impressed with our poetry section. But we are selling all types of books right now! From bestsellers to books about lo-fi cassette culture, sextrology, and Charles Oakley. Anything important or interesting to us we try to get in store and keep in stock.

Why are books still necessary in a wired world?

Susan Orleans wrote in “The Orchid Thief”: “There are too many ideas and things and people, too many directions to go. I was starting to believe that the reason it matters to care passionately about something is that it whittles the world down to a more manageable size.”

Part of why we are called Small World Books is because we believe books are an excellent way to “whittle the world down to a more manageable size,” small enough to not seem so overwhelmingly exhausting, and hopefully, then making it easier to expand our circle of empathy.