hope

Former Dragons and Bath forward Faletau has played only 30 times for Cardiff since signing in 2022, but a one-year contract extension was announced at the start of July.

“We all know that he is a quality player and you just feel and sense when he is around that something special is going to happen, either from him or the guy next to him” said Van Zyl, whose side play a friendly at Worcester on Saturday.

“Still in training, every time he steps in, you feel the difference. He brings a lot and gives everybody confidence. He’s a world-class athlete.”

Faletau racked up the games with club and country when with Dragons between 2009 and 2016 but has since been plagued by injuries.

Van Zyl hopes that a summer off and full pre-season will help him thrive at Cardiff, where his game time will be managed thanks to the presence of Alun Lawrence and Taine Basham.

“I think for his body, it’s been good,” said the head coach. “His fitness levels are up there, it’s the contact conditioning that he needs to top up now.

“In different years, he’s had different injuries but he looks in a good place.”

At the top of Gloria Steinem’s “Famous Last Words” interview on Netflix, Brad Falchuk describes the writer and activist as “the face of the feminist movement” for the last 50-plus years — and Steinem says she hopes that isn’t true.

“I hope I wasn’t the face of the feminist movement,” Steinem says during the intimate conversation released Thursday on the streamer after her death at age 92. “Because it’s not right. … It’s a diverse movement, and, actually, on the issues, in public opinion polls, women of color are more likely to support the issues than white women.”

According to a Netflix news release, Steinem sat down with Falchuk in February 2025 for the interview she knew would not be released until after her death. In “Famous Last Words: Gloria Steinem,” the celebrated feminist reflects on her life and legacy in terms of her political activism, as well as her family and upbringing, relationships with other feminist figures and her hopes for the future.

Steinem maintained her hopes, even in a post-Roe vs. Wade world. When the landmark decision was overturned by the Supreme Court in 2022, it meant states could again outlaw abortion.

“I get angry or disappointed and so on [thinking about it], but I don’t lose all hope in the future,” Steinem said, before sharing observations about previously living near an abortion clinic.

Women are “still struggling,” she said. “There’s still religious restrictions that many people feel. There’s, I’m sorry to say, race and class restrictions.

“We have, right as we speak, Trump in the White House. So we have no shortage of things we need to do in order to be compassionate toward each other.”

One of the most recognizable feminist figures of our times, Steinem was known for her role in launching Ms. magazine as well as organizations such as the National Women’s Political Caucus and the Women’s Action Alliance. When asked by Falchuk to reflect on her “feminist awakening,” she mentions that her time in India studying Gandhi was when she “realized that patriarchy was made up. Racism was made up.”

But the interview has its lighter moments. For instance, Steinem reveals she finds joy in reality TV, including “Dance Moms.”

“It’s shows in which you see real people being who they are and disclosing their own stories,” Steinem said. “Those are more fun.”

And although she seems hesitant about contemplating her own “nonexistence,” she does share how she wants to be remembered: As “this person who tried to make the world a little more equal, compassionate, joyful, funny than it was when I showed up.”

“I just hope that I have, however accidentally, left behind some words or actions or stories or something that is useful to the people — and pleasurable, hopefully — to the people who are going to continue long after you and me,” she said.

Falchuk, also an executive producer of the “Famous Last Words” series, described Steinem in a news release as “the steady heartbeat of a revolution, but in this room, she was a woman reflecting on the simple, profound beauty of human connection.”

“She spoke about the intersection of race, gender, and peace with a wisdom that only comes from a lifetime on the front lines. Even in her final moments, she was organizing us, challenging us to keep moving forward. It is an extraordinary privilege to share her final thoughts with the world.”

After her conversation with Falchuk, Steinem was given the opportunity to share her final words alone, directly addressing the audience through the camera. Read her full message below.

“Hello, all you unique individuals out there. I’m so glad to be meeting you through the magic of the media. I wish I could meet each one of you in person. But in a way, this is what allows us now to see each other’s lives, to influence each other’s lives, to respect each other, and to, therefore, perpetuate what we hope is a global democracy.

“Please feel free to respond in any way you can. And please tell your own story. This is the most important thing we can do for each other — to know each other through stories. And I hope so much that whoever you are, listening right now, you are able to do what you love [and] to be … the unique person you are.”

A Miami investor who pleaded guilty to making insider trades connected to the parent company of President Trump’s Truth Social platform helped fund a pro-Trump documentary film in hopes of securing a presidential pardon, according to a lawsuit by an L.A. studio that accuses him of threats and extortion.

Michael Shvartsman pleaded guilty in 2024 to insider trading associated with the Trump Media & Technology Group, which federal prosecutors said netted him $18.2 million in ill-gotten gains.

Four months later, Shvartsman helped fund the documentary “The Man You Don’t Know” in an effort to obtain a pardon, according to the lawsuit filed last month in Los Angeles. He denies the allegations.

A company controlled by Shvartsman provided a $425,000 loan in August 2024 to help fund the film, according to the suit. The film featured interviews with Trump’s sons Eric Trump and Donald Trump Jr. and painted a flattering portrait of the president.

Shvartsman attended the film’s premiere that October at Trump’s Mar-a-Lago club in Palm Beach, Fla., where he revealed, according to the lawsuit, that he had provided financing for the movie and “was hoping his participation would enable him to get a pardon.”

The event featured a who’s who of Trump-world insiders, including former New York Mayor Rudolph W. Giuliani, the late pro wrestler and media personality Hulk Hogan, Eric and Donald Trump Jr., as well as the former and soon-to-be president.

Shvartsman and his associates “arranged meetings” with “contacts and stars” associated with the movie in the hopes of achieving his goal of a pardon, the lawsuit said, though it doesn’t state specifically whom he targeted.

Shvartsman had good reason to seek their help.

Days before the event, he had been sentenced by a federal judge in New York to two years and four months in prison for insider trading connected to the announcement of a merger that would make Trump Media & Technology Group a publicly traded company.

Shvartsman, who is a Canadian citizen, also faced the prospect of deportation after his sentence.

Shvartsman said he “disputes all facts and allegations” in the lawsuit and plans to file a countersuit.

“We are not going to litigate this matter through the press,” he wrote in a message to The Times. “We intend to address the issues through the appropriate legal process, where the relevant facts and documentation can be properly presented and considered.”

Shvartsman’s efforts to mitigate his penalty weren’t limited to the documentary film. A day before his sentencing, the Aleph Institute, a Jewish criminal justice reform group, filed a letter to the federal court in New York laying out a proposed community service plan for Shvartsman to follow. The group had been instrumental in helping secure clemency during Trump’s first term for Philip Esformes, a south Florida man who was serving a 20-year prison sentence for his role in a $1.3-billion Medicare fraud scheme.

But Shvartsman’s story didn’t have a Hollywood ending: He failed to secure a pardon.

He went to prison in January 2025 and was held in federal custody until May 29, 2026, according to Bureau of Prison records. It isn’t clear whether he remains in the U.S.

Though Shvartsman was unsuccessful, dozens of other wealthy convicted individuals have been able to win clemency during Trump’s time in office by spending big bucks on influence campaigns to secure their freedom.

Many of them have ponied up millions of dollars to lobbyists and political insiders who have built a cottage industry out of helping monied convicts secure their freedom.

Some pardon chasers have also made big donations to pro-Trump super PACs as part of their efforts.

Scammers have even tried to get in on the action.

Trump’s pardon czar, Alice Marie Johnson, recently took to social media saying that people have been impersonating her and asking for a “processing fee” to help smooth the path to clemency. She said that neither she nor her office would ever ask for such a payment.

The lawsuit against Shvartsman, brought by the Los Angeles film production company Global Ascension Studios and its chief executive, Joshua Macciello, alleges that Shvartsman and his associates demanded immediate repayment of the loan the day after the 2024 Mar-a-Lago event — nine months before it was due — and threatened Macciello’s “physical safety” if the film company didn’t pay immediately or transfer control of the company to Shvartsman.

The lawsuit alleges that Macciello modified the loan agreement under duress and agreed to give Shvartsman and his company a greater share of the film’s potential proceeds.

It isn’t clear whether the loan has yet been repaid.

The proceeds from the film would prove to be middling.

The film was released days before Trump’s 2024 election victory, but its producers blamed political bias for the movie’s lackluster box office performance after fewer theaters than expected agreed to show it.

“In 37 years, I’ve never seen creative work get censored by theaters in this country,” Arthur Sarkissian, Global Ascension Studios’ former head of production, who was involved in the project, told Deadline at the time.

Sarkissian, best known as a producer of the “Rush Hour” franchise, is also being sued by Global Ascension and Macciello, who accused him of fraud and breach of contract in a lawsuit filed last year in Los Angeles.

Sarkissian has filed a counterclaim against Global Ascension, Macciello and others connected to the film production company, also accusing them of fraud and breach of contract.

The case is ongoing.

Hig (Jacob Elordi) may be the most perfect guy alive, not that he’s got much competition. In Ridley Scott’s simple-minded sociological study “The Dog Stars,” an influenza epidemic wiped out the majority of our squabblesome species sometime during the last decade. The LCD screens outside the Denver Nuggets basketball arena continue to flicker, although weeds and wolves have overrun the fast-food joints in a bit of postapocalyptic product placement.

A former mechanic and construction worker, Hig lives 25 miles north of the city on what appears to be a combination high school football field/rural airport. Periodically, the soft-spoken and generous man flies his Cessna into town to scavenge soda pop for a dozen or so cherubic Mennonite children on a nearby homestead. Those wholesome visits seem to cheer him up a little, what with the kids’ minder (Benedict Wong) striding around in a straw hat and overalls like something out of Norman Rockwell, and the youngsters thanking Hig with crayoned portraits of his doting German shepard, Jasper. Still, he’s bummed out about his dead wife (Sai Bennett), who, like most dead movie wives, appears in flashbacks as beatific, mute and adoring.

The script by Mark L. Smith (“The Revenant”) wants us to fret that Hig may succumb to suicide but whiffs that idea by trying to get it across in a scene where Hig shuts off the Cessna’s engine mid-flight with Jasper happily riding shotgun. Even if we were willing to accept that Hig might deliberately crash his plane, we can’t buy for a second that he’d hurt his sweet pup. Nevertheless, the film’s dystopian beats are so familiar, you’ve probably guessed by now that you shouldn’t get too attached to the dog.

Hig has bunkered down with a grouchy companion, Bangley (Josh Brolin), who thrives in this harsh world. To Bangley, the four essentials of life are “power, food, water and weapons.” Their armory is formidable; their cash supply, a source of comic relief. At night, Hig and Bangley play poker with stacks of $5,000 bills that they throw around as casually as nickels. Patrolling their two-man compound, Bangley insists on killing all outsiders before they might cause any trouble. Adding insult to headshot, he calls his casualties “cockroaches.”

Soon, Hig will meet a freckled widow named Cima (Margaret Qualley) and her suspicious father, Pops (Guy Pearce). The young pair make eyes at each other. Yet these survivors are so hard-wired to be fearful of their neighbors that Hig and Cima’s rusty, tentative flirtation takes place under the gaze of her daddy’s gun, a heck of a chaperone. The most they get up to is heavy spooning.

This is an uncomplicated yarn about a man prying open his heart and nudging other hard nuts to do the same. There’s little tension or drive, just shaggy scenes about paranoia, trust and hope. The characters seem to endure only to get to their next traumatic memory reveal.

At once plain-spoken and vague, the story lacks a firm grip on facts like the distance between places and how long this mess has been going on. It snatches at our attention with no more finesse than a losing fighter fumbling for a weapon. Hig’s Cessna works fine until it’s narratively convenient that it doesn’t. Then when needed, it works again. Meanwhile, Brolin’s Bangley oscillates in personality from miserable bastard to laugh factory.

At 88, Scott remains the cinema’s uneasy philosopher, continually fretting about the technological and societal tools we’ve developed to destroy ourselves. He’s made one genuinely optimistic film, 2015’s “The Martian,” which also happens to be his biggest box office success. Other than that, he’s never seemed confident that the future will turn out all right, although he’s kept on working out his worries onscreen, forever hunting for flakes of hope in the rubble. (If you take Scott’s IMDb as gospel, he’s got seven upcoming features in various stages of preproduction, more than George Lucas has ever made.)

“The Dog Stars” is based on Peter Heller’s 2012 novel of the same name, which, in those naive, pre-COVID times, was received as a rosier take on Cormac McCarthy’s “The Road.” Scott’s version of“The Dog Stars” borrows its title, premise and a handful of proper names. Otherwise, it’s loud where the book was quiet and subtle where the book got sweaty. A barrage of newly concocted action sequences in the second half makes the pacing so off-balance that the film feels like a heron trying to fly with one blinged-out wing.

I’m only half-complaining — those giddy, bloody scenes are the best parts of the movie. But we in the audience could have used some of that pizzazz at the beginning, too, before we spent nearly an hour settling into the idea that we’ve seen all of this before.

The attackers to come are a bizarre grab bag of baddies. One gang wears football pads as armor and comes galloping in on horses, whooping like the Apaches in a John Ford movie. Another horde, the Reapers, runs around shirtless to show off their thick black tattoos. The Reapers look awesome through cinematographer Erik Messerschmidt’s night-vision binoculars that make their skin glow an alien shade of green. Neither group comes across like human beings. The film handles them more like zombies or rabid raccoons, and since these extras are the only characters of color, I won’t fault anyone who finds their treatment morally queasy.

Late in the film, we also meet a third group headed by Allison Janney doing a cap-tip to Nurse Ratched as the soundtrack cues the mind-numbing waltz from “One Flew Over the Cuckoo’s Nest.” Otherwise, Harry Gregson-Williams’ meddlesome score tells us everything that’s about to happen 30 seconds before it does. Besides Janney and Qualley’s plucky Cima (what in the made-up name is that?), few grown women seem to be left alive for reasons probably better left unsaid. (A goon in the book wears a necklace made of dried labia. Scott sagely omits that detail.)

Elordi nearly shoulders the running time but plays his Hig a bit too humbly. I’ve rarely seen Elordi wearing his lanky, handsome screen presence comfortably; something about the actor usually seems to be apologizing for his own existence. His recessive Hig needs more charisma so we can care about him as a character, not just an idealized hero. But you like him anyway. How can you not when Hig is giving his dog a good scratch?

Having lived through a seismic pandemic himself, it makes sense that Scott would be drawn to the original novel’s blend of patience and poetry. Yet, it’s odd how little of it he’s kept. To hold my own interest, I imagined myself as a hunter-explorer trying to figure out why Scott had bothered to adapt it at all, and turned up a line where Brolin’s Bangley looks back on his old life and admits that he couldn’t understand what he had until it was gone. A lovely moment, although I don’t believe it’s in the book either.

That’s the theme of this rote exercise. But I preferred a minor beat a few minutes later when a character puts down their gun and picks up a guitar. Bad as this world feels, there’s still pleasure in making art. Which is why Scott keeps at it, too — and while I don’t think much of this one, I’m awful glad he does.