Grace

Aug. 30 (UPI) — NASA used SpaceX‘s Falcon Heavy rocket to launch the Nancy Grace Roman Space Telescope into space Sunday for a 1 million-mile journey to study some of the universe’s deepest secrets.

The rocket launched at 7:26 a.m. EDT from Launch Complex 39A at the Kennedy Space Center in Florida. The Falcon Heavy rocket separated 31 minutes into the flight and returned back to the launch site for later reuse.

There had been a 60% chance of favorable weather for the launch.

NASA Administrator Jared Isaacman called the launch of the telescope “exactly the kind of success story we want to see across NASA.”

“Delivered ahead of schedule and on budget, this mission reflects more than a decade of dedication from the NASA workforce and our industry partners. Now, Roman will give us a new atlas of the universe, push the boundaries of discovery, and demonstrate what is possible when America’s space program pairs bold ambition with disciplined execution.”

NASA said the telescope deployed its solar panels and lower instrument sun shade 1 hour and 23 minutes after launch. In the coming days, it will also deploy its high-gain antenna and a visor-like deployable aperture cover, perform two course corrections, and power on the Coronagraph Instrument.

In a few weeks, the telescope’s Wide Field Instrument — an infrared camera considered to be its primary instrument — will activate.

The Roman Space Telescope will travel 1 million miles in three months to reach its final orbit, a location called the second Sun-Earth Lagrange point. There, it’s expected to rapidly scan the sky and survey the universe about 1,000 times faster than the Hubble Space Telescope.

NASA said it expects to release its first images from the Roman Space Telescope in early 2027.

A new drama following Nicola Sturgeon and her estranged husband’s fall from grace has been commissioned as television movie for Channel 5 following his embezzlement scandal

Nicola Sturgeon and her estranged husband’s dramatic fall from grace is to be turned into a movie length drama for TV.

Channel 5 announced today they will make a 90 minute factual drama about how Sturgeon’s husband, Peter Murrell, embezzled £400,000 from the SNP over a 12 year period.

Called ‘To Nicola, Love Peter’ it will follow the channel’s success with Power: The Downfall of Huw Edwards. The drama creators say they will draw on an extensive range of factual sources including evidence gathered by Police Scotland, The Crown Office and Procurator Fiscal Service as well as extensive TV and newspaper interviews with Nicola Sturgeon and interviews with other key protagonists.

Ben Frow, Chief Content Officer, 5 said: “This is an epic tale of Shakespearean proportions. An extraordinary tale of power, envy, deception and greed.

“It’s both a high-stakes political melodrama and bizarre domestic drama that has dominated headlines and gossip columns. We will be pulling together the events and characters involved to create a compelling revealing drama, as well as answering that very important question – why would anyone pay £2,600 for a pair of salt & pepper grinders…?!”

In June, former SNP chief executive Murrell was sentenced to five years and three months in jail after he admitted to embezzling more than £400,000 from the party.

Murrell – the estranged husband of Nicola Sturgeon – used the funds to buy goods ranging from cars and a motorhome to kitchenware and toiletries.

The Glasgow home he shared with Sturgeon was searched as part of the police operation, as was the SNP headquarters in Edinburgh.

Murrell’s largest single purchase, in 2020, was a £124,550 luxury motorhome, paid for entirely with party funds. When it was seized by police three years later, it had only ever been driven four miles.

Murrell also used party funds to buy further items including a £3,223 coffee machine, a £3,000 robotic lawn mower, £2,600 salt and pepper grinders and a £425 gold pendant that Sturgeon was photographed wearing.

Sturgeon has said she was not aware that Murrell had purchased many of the high-value items listed in court documents. The former first minister has consistently insisted that she had no reason to believe that Murrell had not used his own money for the items he was buying.

Sturgeon had stepped down as first minister in March 2023 and was arrested In June 2023. But she was later told she was not being investigated.

Last year Sturgeon announced that the pair were ending their marriage. She appeared at the Edinburgh Fringe earlier this month and in an on stage interview told the audiences she “feels like a mug” for caring about estranged husband Murrell.

She also claimed he “lied right up until he pled guilty”, and said she won’t be visiting him in prison.

Sturgeon also said: “Over the years, he never really levelled with me. The day he pled guilty, I was still learning about some of the detail of what he had done for the first time. I suddenly realised I had been living with somebody that I never really knew properly.”

Casting for ‘To Nicola, Love Peter’ is currently underway with filming likely to begin later this year. it is expected to air on 5 in 2027.

Power: The Downfall of Huw Edwards pulled in almost two million viewers when it aired earlier this year on 5.

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Comedy director James Burrows, the 11-time Emmy-winning director who co-created “Cheers” and helped turn such long-running sitcoms as “Taxi,” “Friends,” “Will & Grace” and “The Big Bang Theory” into fan favorites, has died, his family confirmed to People. He was 85.

“We celebrate the extraordinary life and enduring legacy of James ‘Jimmy’ Burrows, who passed away peacefully today surrounded by his loving family,” his family said in a statement to People. “For more than five decades, Burrows was one of the most influential and beloved directors in television history. As a legendary director, mentor, and creative force, he helped shape generations of comedy and brought immeasurable joy to audiences around the world.”

A master of the multi-camera sitcom, Burrows started his career shooting episodes of “The Mary Tyler Moore Show” in 1974 and “The Bob Newhart Show” in 1975. He soon joined the quality-oriented production company, MTM, which counted James L. Brooks, Steven Bochco and Gary David Goldberg among its alumni.

“They were smart enough to know that it’s better to have a director who can talk to actors rather than a director who can move cameras. You can’t really learn how to make something funny, but you can learn to move the cameras,” Burrows said in a 1995 interview with The Times.

Burrows was born in Los Angeles and later moved to New York with his family where he attended the High School of Music & Art. He graduated from Oberlin College and completed a graduate program at the Yale School of Drama. He worked years as a stage manager with his father, a playwright and director, assisting on shows such as “Breakfast at Tiffany’s” starring Moore and Richard Chamberlain.

He solidified his name in television with “Cheers,” co-creating the lively Boston travern “where everybody knows your name” with Glen and Les Charles. Over its 11 seasons on the air, Burrows directed 237 of its 275 episodes, emerging as a behind-the-scenes comedy legend.

“You bring ‘em in, you sit ‘em down and they talk. That’s all ‘Cheers’ was,” Burrows told The Times. “The word is more important than the goofiness. It was all about the words — which is how I was trained, how my father was trained, how anybody who reads books is trained. It’s the word.”

His father, Abe Burrows, was a Pulitzer Prize-winning playwright, screenwriter and director who performed in radio comedies and co-wrote the books for the Broadway musicals “Guys and Dolls” and “How to Succeed in Business Without Really Trying.” The younger Burrows said that growing up on radio comedies helped him hone his ear for humor.

“I know what’s funny, and I probably know the best way to deliver the joke. Whether it’s walking out of a room, facing that way, facing this way,” Burrows said in a 2010 interview with The Times. “I just have a sense of that.”

Another skill he learned from his dad? was working on his feet.

“He’d run the scenes over and over. He created this wonderful camaraderie, which I always try to do. I love to do ensemble shows because that’s where you get the camaraderie.”

Burrows, often considered a fatherly manager, tried to bridge the gap between actors and writers and notably took the cast of “Friends” on a trip to Las Vegas before directing 15 episodes of the blockbuster comedy. He also threw a party for the “Mike & Molly” cast to build rapport because he believed when everyone liked each other, it showed onscreen.

Actors would know when a joke landed when they would hear Burrows giggle as the scene unfolded.

“I’m the guy that wants you to walk the comic plank for me,” he said. “Take it as far out as you want to take it and I’ll bring it back. Sometimes I’ll take it further. But trust me.”

With his slate of hits — he’s credited for directing several shows in NBC’s primetime “Must See TV” lineup of the 1990s — Burrows amassed sizable wealth and, from an early age, was in constant demand by those seeking his magic touch for their show. However, he also saw his fair share of flops: Henry Winkler’s “Monty, “Cafe Americain” with Valerie Bertinelli and a slew of promising pilots that never got off the ground. He also felt that ABC’s “The Associates” and “The Class” on CBS were canceled too soon.

From 1998 to 2006, Burrows helmed every episode of “Will & Grace,” the Emmy-nominated sitcom about a woman and her gay best friend that aired on NBC for eight seasons during its original run. To Burrows, it was the funniest show he ever worked on. He was also behind the camera for the comedy’s 2017 revival, which brought the envelope-pushing antics of Will, Grace, Jack and Karen back for three more seasons.

“It was a fairytale literally and figuratively,” he said in a 2016 Hypable interview. “It was not of the real world in a strange kind of way. These were exaggerated characters. Although they were grounded with Will and Grace, there was this exaggeration that made the stuff you could do and get away with on that show so extraordinary.”

He won his 11th Emmy Award serving as an executive producer on 2019’s all-star re-staging of “Live in front of a Studio Audience: ‘All in the Family’ and ‘Good Times.’” A year earlier, he was nominated for directing the “‘All in the Family’ and ‘The Jeffersons’” TV special.

James Burrows behind the scenes.

(Chris Pizzello / Invision / Associated Press)

Throughout his career Burrows had a penchant for directing pilots because it meant “you’re better than an episodic director” and could create something new in the writer-driven medium of television. He was also drawn to “more uptown, the more urbane, the more sophisticated” comedies. He tried doing cinema once — 1981’s “Partners” with Ryan O’Neal and John Hurt — and said the result confirmed his belief that he was built for television.

“I’m not a cinematic guy. I’m a theater guy. For what I do, I need a live audience,” he said in a 2016 interview with the Television Academy.

Among his favorite TV moments were the pilots for “Frasier” and “Third Rock From the Sun,” the long-awaited kiss between Sam (Ted Danson) and Diane (Shelley Long) and Woody’s (Woody Harrelson) wedding on “Cheers,” Rev. Jim (Christopher Lloyd) taking his driving test in “Taxi,” Ross (David Schwimmer) being attacked by a cat in “Friends” and Will, Grace, Jack and Karen getting in the shower together on “Will & Grace.”

Late into his career, Burrows continued to work in the multi-camera sitcom format, which is shot in a studio, usually before a live audience. In 2013, he was honored by the Television Academy, and, in 2016, he celebrated directing his 1,000th episode of television programming, crossing the milestone with an episode of “Crowded.” NBC marked the milestone with “Must See TV: An All-Star Tribute” special. According to critics, the show — billed by several outlets as the elusive “Friends” reunion and came off as a living eulogy to Burrows — fell short and did not do the legendary director justice.

In all, Burrows was nominated for 45 Emmy Awards and 17 Directors Guild of America Awards.

Cameron Brink said she’d appreciate some grace. She really would.

Sparks fans should give her some, because where else is she going to get it?

Certainly not from WNBA refs. Not from opponents with more to play for than ever. Certainly not from the game itself; basketball moves fast, and a bummer can become a bust in a blink.

But Brink, 24, is not on the brink of bust territory, no. Block that thought. Technically, it’s Year 3, but after a torn ACL derailed her as a rookie two summers ago, it’s practically like Year 2 for the former Stanford star. And by design, the WNBA is testing her confidence, her decision-making and her patience as she tries to reestablish herself as one of the WNBA’s best young players.

So, grace.

The recognizable 6-foot-4 forward — she’s the long-blond-haired hooper in the New Balance ads — was the No. 2 overall pick in 2024.

Now she’s her team’s No. 3 option in the post. She’s coming off the bench behind Nneka Ogwumike and Dearica Hamby for the Sparks, who are a modest 6-6 after wins this week over the expansion Portland Fire and the struggling Seattle Storm.

Against the Fire, Brink scored two points and picked up four fouls in nine minutes. Then she went to Seattle and had 15 points in 18 minutes but was pulled with more than five minutes left in the fourth quarter after getting her third, fourth and fifth fouls in 86 seconds. (WNBA players get six fouls before being disqualified.)

For the season, Brink has been called for 49 fouls in 208 minutes. A foul about every four minutes!

They’re silly fouls and they’re phantom calls. Egregious and ticky-tack. Costly and common. A real fouled-up buffet. She sets screens that get scrutinized as if by the most vigilant TSA agent. And sometimes, yes, she’s doing the accidental tripping. Other times, the officials are.

Her reputation precedes her, so everyone gets a superstar’s whistle when being defended by Brink. Opponents bake it into their game plans.

That can’t continue.

All that fouling is hindering Brink’s development because it’s robbing her of important in-game reps — which she needs, foremost, to figure out how to stop fouling.

Sparks forward Cameron Brink, left, blocks the shot of the Tempo’s Laura Juskaite during a game last month.

(Jeff Lewis / Associated Press)

“At the pro level,” said Tara VanDerveer, Brink’s coach at Stanford, “every young player always has a lot of work to do. And I saw her make a three. I see her block shots. She rebounds, she can handle the ball, she’s unselfish, she’s a terrific talent. But there’s always things players need to work on.”

We know what Brink’s thing is.

“She has to be disciplined,” VanDerveer said. “And if you want something so badly, if you want to be an All-Star someday or make the Olympic team, you’ve got to be dependable … and I think anyone can change, if it’s behavior they recognize is not in their best interests or not in their team’s best interests. It’s hard, but it’s something I think people can do.

“That’s what Cam is working on.”

And, VanDerveer added, “I’m really so excited that Nneka is there, because she will give her such great guidance and mentorship.”

And grace. Brink is getting that from Ogwumike — also a former Stanford star, the Sparks legend returned to L.A. this season after two seasons in Seattle — and her other teammates.

“I just do my best to lead by example,” Ogwumike, 35, said. “But then also let [Brink] know that she’s very capable, that she’s more than capable, which is exactly why she’s here with us and it’s exactly why we need her on this team.”

Sparks forward Cameron Brink, wearing a facemask, controls the ball while defended by Sun forward Raegan Beers.

(Joe Buglewicz / Getty Images)

But how long will Brink get grace from the Sparks in the what-have-you-done-for-me-lately business of basketball?

The foul trouble tells us why a win-now team wouldn’t trust her, why the Sparks would give meaningful minutes to two veteran post players ahead of her. Why they wouldn’t prioritize Brink’s development alongside winning as they strive to snap a previously unthinkable five-year playoff drought.

And what about fans? How patient will you all be with a player who was drafted immediately after Caitlin Clark and five spots in front of Angel Reese?

These days, that might depend on what the parlay calls for.

Or, preferably, whether you remember Brink’s first 15 WNBA games. All starts, all signs pointing to stardom. She showed up in 2024 throwing lavish block parties. Her 2.3 blocks per game were message-sending spikes, like what Lisa Leslie used to enthrall Sparks crowds with.

From the jump, she had guys coming to games at Crypto.com Arena wearing her No. 22 jersey and little girls arriving in groups with No. 22 painted on their cheeks and “I love Cam Brink” signs in hand.

And then the torn ACL cost her 25 games of her rookie season and another 25 last season, plus her spot on the United States’ Olympic 3×3 women’s basketball team in Paris in 2024.

She had to start over. Lost a lot of ground. But you see that masked woman stuck on the Sparks’ bench for all but 17 minutes per game?

You can’t miss her. She’s looking uncomfortable in protective facial gear that either hinders her breathing or her peripheral vision, her only options to protect the torn septum she suffered in a victory over the Las Vegas Aces last month.

She’s the one with the 6-8 wingspan who’s averaging 9.2 points, 4.3 rebounds and 1.5 blocks while shooting 52.1% from the field in her limited minutes.

She’s still Cameron Brink. Between fouls, she’s fluid and fast and covers more of the court than almost anyone in the WNBA, able to leap from defending guards to centers in a single bound.

“It’s just looking at every day as a new opportunity to learn and grow and not getting too bogged down when things don’t go exactly as you planned,” Brink told me. “Because more times than not, things are not going to go how you want them to. And that’s life. So I just want to be able to put my best effort out there every single night.

She knows what the Sparks need from her: “To perform, just come on the floor and compete.”

To prove she can stay on the floor to compete.