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How Josh Johnson composed ‘Symphony,’ the music-driven special aiming to be timeless

For a guy who has become known for his monstrous output of clips, comedy specials and content, it’s a wonder Josh Johnson has time to stop to think about what makes his comedy timeless. As a former writer and now one of the hosts of “The Daily Show,” much of Johnson’s humor outside of specials relies on his ability to deliver jokes on the dumpster fire du jour when it comes to pop culture and politics. But for his latest one-hour special, “Symphony,” premiering Friday on HBO, he wanted to orchestrate something different that would still be funny 40 years from now, regardless of what’s fashionable or who is running the country.

Using music as a canvas to paint a funny, layered portrait of the human experience, Johnson creates a set that comes alive with the sound of more than the laughter at the Wiltern, where the special was filmed earlier this year. With stories focused on surviving rowdy family, moments of loneliness, struggles with faith, and navigating our deepest human relationships, Johnson’s abilities as a pensive storyteller are conducted masterfully. The result is an hour that helps showcase his refined comedic voice, surprise the audience and sound the trumpets for his next round of touring.

This interview was edited for length and clarity.

Why was it important for you to veer so strongly into music as a theme of your new special, “Symphony”?

I think music, in a way that nothing else does, brought the central points and themes of the special home. In the beginning [scene] with the title card and the busker who has a [music-related] quote in front of him, that’s sort of the mission statement of the special and everything I’m trying to do. The thing to me is including the music to help bring about these ideas and bring each section home and bring it all the together in a way that obviously I’m also attempting to do through the comedy. I think thematically there’s nothing stronger to make the overall point than music.

What inspired you to shoot it at the Wiltern?

The Wiltern is so beautiful and it also lends itself to that sort of art aspect I’m talking about in the very beginning of the special. Things that have that look of the Wiltern help not just create a spectacle, but give you something really beautiful to look at. You get something really beautiful to listen to in the music, and then the comedy helps decorate the hour that we’re spending together.

Comedian standing on stage with a mic

“If you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, I think that you create something that really stands the test of time,” Johnson says about his new special, “Symphony,” premiering Friday on HBO.

(Ser Baffo / HBO)

You definitely play around with the format of a typical special in this new hour. As somebody who has mastered the ability to release a crazy amount of comedy in recent years on YouTube and social media, what aspect of a traditional one-hour special do you still find important?

I think that everything that I’ve been doing so far is pretty topical and very of the moment, even when I’m not talking about a specific pop culture or political topic. I think that there’s a time for comedy of the moment, but then I also think there’s an aspect that you want to be timeless, and that’s what the specials are for me. You want the piece to be something that people watch 40 years from now, and I don’t always expect every single set that I put out to have that level of longevity. Because no matter how it feels right now, there’s going to come a time where we look at the people who take up so much of our bandwidth and our thoughts throughout the day as just a sort of passing political fashion or the things that we see as like huge indicators of where society is right now will eventually become forgotten crazes. But I think that if you speak to the human condition, if you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, you create something that really stands the test of time.

There’s a duality between your timely comedy on “The Daily Show” and the timelessness you’re aiming for in specials. Was it important for you to separate the two ways that people might see you as a comedian?

People are going to have their takeaways from whatever you do. I try bringing the same amount of intention to everything, but as far as the way people see me, it’s something that’s kind of out of my control.

Religion comes up a lot in the special, the Bible specifically. I’d read somewhere that you had taken a break from practicing Christianity in recent years. If so, what was your reason for including the topic in your special?

I wouldn’t even necessarily call it a break, I just think that there’s moments you’ll find yourself in, where whether you grew up on a text or a certain few tenants that you live by, there’s always going to come a time where it’s really important to revisit those things… It’s not necessarily that I bring religion up in the special because I stopped practicing. It’s actually because I think that if I’m breaking life down into these sort of pillars that make up a person — I’m not saying religion has to be one of them — but I do find it to be an aspect for a lot of people. So if I’m once again trying to speak to things from a universal perspective as best I can, I think it’s something that that definitely comes up.

Comedian doing a karate kick on stage

Comic Josh Johnson turns his new hour into a concertlike experience, using live music, a busker’s credo and L.A.’s ornate Wiltern Theatre to tie jokes into a single, sweeping theme.

(Ser Baffo / HBO)

Considering how well you use music as a backdrop for the special, how long did it take to come up with a concept for the hour? Did you write the jokes before coming up with the structure or vice versa?

I basically had a structure before I had a set, and I went to the director Jacob Menache about the idea for this thing like three years ago and we were talking about how best to make it work. That was long before I knew what jokes were going to go where, or how many things, how many aspects we were going to add to it, or anything. So I think that it’s been a long time coming, as far as like the actual structure of what you end up seeing.

Watching your special was the first time I paid real attention to who the musical director was in the credits. What was it like working with respected bassist and producer Derrick Hodge on creating the concept for the music in “Symphony?

I look at Derrick as someone who was doing a lot of interesting things, and so I thought it was going to be a fantastic opportunity to get to work with him. I don’t know that much about music, to be honest. I try to dabble with producing here and there because I have ideas, but it’s the real musicians, the real artists that take the ideas that I might pitch out and create something with it. So I really leaned on Derrick as much as possible to like bring us home. I feel like so much of what I was trying to do was in bringing an overall idea of the structure of a set and asking Derek, “Hey, what do you think about this?” I don’t know if I could have ever thought up a way to create what I was trying to build without him.

Was there something about you that you felt like you wanted to get across in this special that maybe you haven’t gotten to in your previous specials?

It can be tough to show new shades of yourself when you put out a lot of stuff, and you are always kind of coming with stories about your life and your childhood or anything like that when I think of putting a set together, especially something that is attempting to be timeless. Overall, I think every new story is a new story to [the audience]. But I think that if you can express how you used to think versus how you think now, that can be revealing. Towards the beginning [of “Symphony”] I talk about how there are things I didn’t understand until pretty close to the special in theory, things I didn’t understand until like a week ago, or I’ve always held this belief, or something like that, and I think that if you can give people insight to your evolution as a person, I think that’s a really powerful thing.

Young man standing on front of a crowd on stage

“I think music, in a way that nothing else does, brought the central points and themes of the special home,” Johnson says.

(Ser Baffo / HBO)

Were there any things that occurred during the rehearsal process that genuinely surprised you?

Watching it come together was a huge surprise, because you know, [the director] Jacob’s out here in L.A., I’m in New York, and so I make the flight down and everything, but the Thursday rehearsal with the musicians [before the taping] was the first time I was seeing everything come together. It was first time I was hearing everything, and so I think watching something finally come to life after such a long period of time is always going to throw you for a loop.

Now that the special will finally be out, what plans do you have next about how to showcase your comedy?

I’m really excited for people to see what’s coming. I start the tour Comedy Band Camp in June. I have some surprises for people there as well, and I’m looking forward to showcasing lots of artists. I’m looking forward to showcasing as much as I can that helps me elevate the level of craft and what I bring to people. And so I’m doing that through even more collaborations. I’m going to be hyping up some people that maybe you’ve heard of, or maybe you haven’t heard of. The special is kind a beautiful kick off for the tour that I’m going to be doing because we are going to be on the road for quite a while, and I chose Comedy Band Camp as a theme, because camp is this thing that people are nostalgic for, it’s a place to go that is safe, where you make friends. Band is about people coming together for a shared goal, it’s about everyone having a singular purpose towards creating art. So I think mixing those two things together will be a unique experience that no one can get anywhere else, and it’ll be a challenge to present it as best as possible. But I have a lot of plans for how I’m going to do that.

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Bank holiday ‘danger hour’ warning issued to Brits with millions expected to hit roads this weekend

New research shows where and when will be most dangerous for motorists this Bank Holiday weekend

Most motorists reckon the roads are at their most treacherous during rush hour, when traffic is bumper-to-bumper and congestion is at its peak. But with millions of Britons set to hit the road this Bank Holiday weekend, fresh research suggests the greatest danger may lurk when the roads seem at their emptiest.

Fresh analysis by Confused.com appears to reveal the single most hazardous hour to drive in the UK, with motorists being urged to steer clear of this time slot where possible over the bank holiday weekend. Drawing on Department for Transport (DfT) traffic flow and collision data, Confused.com has developed an interactive Safety Index to work out the probability of being caught up in an accident relative to the volume of vehicles on the road.

Rhydian Jones, Confused.com car insurance expert, explains why the emptiest roads can often prove the most perilous, identifies the riskiest and safest times to drive in the UK, and offers guidance on how motorists can use Confused.com’s new Safety Index tool to plan safer journeys during the bank holiday exodus.

Whether you’re heading off for a long weekend away, popping to see relatives or making your way home after a day out, understanding when collision risk peaks could help you sidestep the most dangerous times to be behind the wheel.

Why Quiet Roads Can Be More Dangerous

It appears to defy logic. Fewer vehicles should surely mean fewer crashes. But experts suggest that emptier roads often encourage more reckless driving behaviour. Almost 1 in 3 motorists (29%) acknowledge they break speed limits at least from time to time, while more than 1 in 4 (27%) admit they’re more inclined to speed when traffic is lighter. Factor in poor visibility, driver fatigue and the heightened chance of encountering drink-drivers, and the hazard increases dramatically.

“Road safety relies on more than just how many cars are on the road. It depends on how conditions evolve through the day, and our analysis makes that pattern unmistakably clear. The late afternoon sees the highest number of collisions because the roads are busy. But when we look at the risk per vehicle, it’s the late-night and early-morning hours that are proportionately the most dangerous. That’s when visibility drops, fatigue sets in and roads are quiet enough that drivers may take more risks.

We know journeys become longer, traffic becomes heavier, and weather conditions get tougher. Our research shows many drivers already feel nervous, especially at night or in unfamiliar areas, and nearly a third admit to speeding when the roads look quiet. Our interactive ‘Safety Index’ tool can help drivers make informed decisions about when they travel, reducing risk and helping them stay safer behind the wheel.” Rhydian Jones, Confused.com car insurance expert.

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The Most Dangerous Hours to Drive

The analysis found that the hours with the highest collision risk relative to traffic volume are:

  • Sunday: 3am to 4am
  • Saturday: 2am to 3am
  • Friday: 11pm to midnight
  • Monday: 1am to 2am
  • Tuesday to Thursday: midnight to 1am

These findings suggest that the greatest danger is not necessarily when roads are busiest, but when drivers are most tired and conditions are less forgiving.

The Safest Times to Drive

By contrast, the safest times to drive are generally in the early morning. Weekdays between 5am and 7am were found to carry the lowest risk, with Wednesday 5am to 6am ranking as the safest hour of the entire week.

On weekends, the safest time shifts slightly later, with 9am to 10am emerging as the lowest-risk period. Experts believe these times are safer because traffic tends to be more predictable and speeds are generally lower.

Over Half of Drivers Have Witnessed or Experienced a Crash

The study also found that road accidents are a common experience for UK motorists.

  • 60% of drivers have either been involved in or witnessed a road accident.
  • 33% say the incident happened in the afternoon.
  • 39% say they have become more cautious and aware of other drivers afterwards.
  • 19% say they felt more nervous behind the wheel.

The emotional impact of accidents can have a lasting effect on confidence and driving behaviour.

The Driving Situations That Make People Most Nervous

The research revealed that many drivers feel uneasy in certain conditions:

  • 26% feel most nervous on inner-city roads.
  • 32% worry about encountering drivers under the influence of alcohol or drugs at night or on weekends.
  • More than 1 in 3 (37%) actively avoid driving at night.
  • 50% avoid driving in poor weather.
  • 41% leave earlier to avoid feeling rushed.

The UK Areas with the Most Collisions

When looking at total collisions rather than risk per vehicle, the busiest crash period is 5pm to 6pm, coinciding with school pick-ups and the evening commute.

During this hour, the councils with the highest number of reported collisions were:

  1. Kent – 265
  2. Surrey – 215
  3. Essex – 205

Nationally, there were 100,927 injury collisions recorded by police and logged by the Department for Transport over the last year.

Why This Hour Is So Dangerous

Several factors combine to make this the most hazardous hour of the week:

  • Drivers may be returning home after late nights out.
  • Fatigue is at its peak.
  • Reduced traffic can encourage speeding.
  • Visibility is poor.
  • There is a greater risk of drink-driving.

The result is a period where even a small mistake can have serious consequences.

In a bid to help motorists gain a clearer picture of road risks, Confused.com has unveiled an interactive Safety Index tool that highlights the safest and most dangerous times to drive on each day of the week.

By cross-referencing traffic volumes with collision statistics, the tool enables drivers to pinpoint lower-risk windows and make better-informed choices about when to set off.

For anyone considering a bank holiday road trip or a late-night drive home, the message couldn’t be more straightforward: quiet roads don’t necessarily mean safer roads.

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Yosemite ditches reservations, drawing huge crowds in a free-for-all

People heading to Yosemite to escape urban congestion fumed this weekend as they waited in a seemingly endless line of cars at the park entrance.

Inside, they circled aimlessly around full parking lots, scanning for empty spots instead of majestic views.

Near the summit of Half Dome, on the infamous steel cables hikers use to ascend the final stretch of bare granite, another traffic jam formed, trapping people hundreds of feet in the air, according to social media posts.

Even before the summer rush, California’s most visited national park is seeing big crowds — the most people in a decade, according to National Park System data.

Critics of the free-for-all are blaming the influx on the Trump administration for abandoning a reservation requirement that, for the last few years, has helped control the number of visitors and preserve a sense of natural tranquility.

California’s nine national parks drew a record 12 million visitors in 2025, up more than 800,000 from the previous record set in 2019. Yosemite accounted for more than a quarter of those visits.

This year, the pace continues, with more than half a million visits to Yosemite so far. In March, the park recorded 236,000 visits, up more than 45% from the same month a year earlier.

Yosemite National Park is enormous, covering more than 1,100 square miles on the western slope of the Sierra Nevada mountain range. Even at the height of summer, an adventurous soul willing to hike a bit can spend weeks in the park and rarely see another person.

But Yosemite’s most famous and Instagrammable vistas — the towering, 3,000-foot granite wall of El Capitan, the thundering spectacles of Yosemite and Bridalveil falls — can be enjoyed from parking lots and picnic benches in the relatively cramped confines of Yosemite Valley.

Visitors don’t even have to get out of their cars to gaze in wide-eyed wonder at sights they will probably remember for the rest of their lives.

And that’s the problem.

Traffic in the valley, especially on summer weekends, had become legendary by the end of the 2010s, inspiring think pieces with headlines such as “Inside Yosemite’s Traffic Meltdown” and “The Siege of Yosemite Valley.”

In June 2020, to limit crowds in the early days of the COVID-19 pandemic, the park introduced a controversial system requiring a reservation before entering.

That left a lot of would-be visitors frustrated, but those lucky enough to snag a reservation were treated to the most peaceful, serene Yosemite Valley experience in years.

Since then, the reservation system has been tweaked repeatedly as administrators searched for a sweet spot between welcoming more visitors and retaining the peace of the great outdoors.

In February, the Trump administration, which had already slashed the national park system’s staff by about 25%, scrapped the reservation system and replaced it with “targeted management” of crowds.

“We are committed to visitor access, safety, and resource protection, and will continue active traffic management strategies to ensure a great visitor experience,” Yosemite Supt. Ray McPadden said at the time. “While reservation systems are one valuable management tool, our data demonstrates that a season-wide reservation requirement is not the most effective approach for the coming season.”

Tourists in Yosemite

A crowd of tourists gather to take pictures of the Yosemite Valley on March 23, 2025, in Yosemite National Park.

(George Rose / Getty Images)

But the new approach is already getting harsh reviews, and the busy season hasn’t even begun.

During “Firefall” in February — an annual phenomenon when sunlight lands on the water cascading from Horsetail Fall, making it glow orange and red, like molten lava — the crowds were reportedly nightmarish.

“I spent over an hour stuck in traffic leaving the park, and exiting felt more like leaving a major sporting event than it did visiting a national park,” Mark Rose, a senior program manager for the National Parks Conservation Assn., a nonprofit devoted to protecting the park system, wrote in a blog post.

“I saw an ambulance stuck in standstill traffic announcing over a megaphone for pedestrians and vehicles to move out of the way,” Rose wrote. “The views were incredible, but I don’t think I’d ever go back without a reservation system in place.”

It left Rose worried about a return to the bad old days of Yosemite traffic, when visitors would wait forever just to get to the gate, pay the $35 entrance fee and then run into road blocks, with signs turning them away because the valley was too crowded.

“That was not an unusual situation,” Rose said. “To wait in line for close to two hours to get into the park and then just be stuck driving around for hours trying to find any parking at any location within the park.”

Over the weekend, the wait in traffic to simply get through the park entrance was an hour and a half, according to Lorena Calvillo from Fresno, who posted pictures and video of the traffic on Yosemite National Park’s official Facebook page.

And once she got in?

“Gridlock. Cars everywhere. People everywhere. No parking. No space,” Calvillo wrote.

“This all comes right after the reservation system was lifted … and honestly, it showed,” she added. “Officials were literally telling people to avoid the Valley.”

Another visitor, Richard Smekal, posted about the conga line of climbers who packed onto the cables leading to the Half Dome summit. He shared a photo of the cables empty when he arrived at 9 a.m., and another taken two hours later.

“After I got down, I turned around and took the second photo,” he wrote. “The line was a continuous stream of people, barely moving — basically at a standstill.”

The cables can be deadly, especially in thunderstorms, when they become a slippery lightning rod. Being stuck there in a human traffic jam is a nightmare many experienced hikers and climbers would do anything to avoid.

A spokesperson for Yosemite did not respond to requests for comment.

Traffic is at a standstill on the Yosemite Valley floor.

Traffic is at a standstill on the Yosemite Valley floor in the summer of 2017 while a bus lane is empty and off-limits to visitors at Yosemite National Park.

(Brian van der Brug / Los Angeles Times)

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Charming UK town just an hour outside of London with its own vineyard and £12.50 wine train

In the heart of the countryside and conveniently located just an hour from London, is a frozen-in-time town with a sprawling vineyard that offers an idyllic day out

Just outside London is a picturesque market town with independent businesses, rolling hill vistas and a vineyard with its very own wine train.

Nestled in the heart of the Surrey Hills Area of Outstanding Natural Beauty (AONB), and just an hour’s train journey from London, is the charming market town of Dorking. While it’s a commuter town, often cited as a laid-back alternative to its neighbours, Guildford and Reigate, Dorking offers a scenic day out against its picturesque backdrop.

The historic town is said to have a ‘nostalgic’ feel, thanks to its timber-framed buildings, traditional coaching inns, and narrow alleys in a nod to its deep medieval roots. Travellers are said to have traditionally used Dorking as a stop between the South Coast and London, while its Victorian-era tales still run through the town.

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Its frozen-in-time setting is only enhanced by its renowned antique quarter on West Street, the town’s oldest street, with hidden gems, vintage items and ancient treasures. Dorking is also renowned for its independent scene of boutiques, coffee houses and eateries, alongside popular branded stores on the High Street.

When it comes to food, there are a few notable spots to point out, including the Michelin-starred restaurant Sorrel, offering modern fine dining from à la carte and tasting menus, to really savour the flavours. Elsewhere, there’s the steakhouse, Heaven’s Kitchen, a pizzeria, Monte Forte, Mediterranean dishes at Arto Restaurant, and, on the outskirts of the town, The Hillroom Restaurant, which offers a delightful afternoon.

Yet it’s well worth exploring beyond the main streets, as cosy squares are tucked among the picturesque town, including Old Kings Courtyard, Allen Court and St Martin’s Walk. That’s in addition to the Dorking Halls, where visitors can catch a theatre performance, watch live music, or sit down for a film.

A walk around the town is enough to warrant a visit, whether it’s to browse its independent retailers or explore its narrow lanes and stunning medieval architecture. But its selection of walking routes and famed Box Hill zig-zag cycle trail are another highlight in the area, offering the chance to really take in the picture-postcard scenes of the rolling Surrey countryside.

And a little further afield, an 8-minute car journey or 20-minute bus ride to be precise, is where you’ll find the vineyard with its very own wine train. The Denbies Wine Estate is England’s largest single-estate vineyard, spanning 265 acres, with its very own hotel and restaurant on-site.

Visitors can book a wine tasting or tour, enjoy one of their events, or book a stay at the vineyard hotel. But one of its most notable experiences is the outdoor vineyard train tour.

Guests can enjoy the train journey around the vineyard underneath the British sunshine while stopping for their next tipple of vino and soaking up the vistas of the Denbies Estate and the North Downs. With tickets starting from just £12.50 per person for the 50-minute tour, it might just be the best way to enjoy the spring weather.

Do you have a travel story to share? Email webtravel@reachplc.com

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For Cherie DeVaux, historic Kentucky Derby win may be first of many

Before Cherie DeVaux won a Breeders’ Cup race, before one of her horses won an Eclipse Award, before she became the answer to a Siri question — “Who was the first female trainer to win the Kentucky Derby?” — she faced the same problem as every new trainer.

She needed horses.

Fortunately for her, this was 2018 and she had just married David Ingordo, a leading bloodstock agent. Surely he’d bring her some top horses and DeVaux would be on her way.

Except … it took DeVaux 11 months to win her first race.

Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, celebrates with her husband, David Ingordo, on Saturday.

Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, celebrates with her husband, David Ingordo, on Saturday at Churchill Downs in Louisville, Ky.

(Andy Lyons / Getty Images)

“That was 100% my fault,” Ingordo said. “We gathered up some horses of our own; we were totally self-funded. And the collection of horses I gathered up were yaks and llamas and sheep. They weren’t related to the equine species.

“I told her, ‘You should have divorced me for the effing horses I put in there.’”

Ingordo was telling this story Sunday, standing in the morning chill outside Barn 37 at Churchill Downs, where dozens of cameras and a few reporters were there to record every word his wife had to say, 12 hours after she made history.

“Good thing I don’t have social anxiety,” DeVaux quipped as she stepped in front of the throng.

She reported Golden Tempo, munching on some hay in his stall maybe 50 feet behind her, was doing well, two hours before he took a 70-mile van ride to DeVaux’s base at Keeneland. A decision on whether he will continue east next week to Laurel Park, temporary home of the May 16 Preakness, won’t be made for several days.

DeVaux said she celebrated with family late Saturday night, eventually getting to sleep at 1:30 a.m. and allowing herself to “sleep in a bit,” not rising until a whole four hours later. There were more than 800 text messages on her phone and she was thinking about what she was going to pack for a flight to New York, where she’s scheduled to appear at 7:30 a.m. Monday on NBC’s “Today.”

“I don’t know if the enormity of this has sunk in yet,” she said.

But DeVaux, 44, has never forgotten where she came from. She grew up in Saratoga Springs, N.Y., which is known for thoroughbred racing, but her family was involved in harness racing and she never wanted to be a trainer anyway. She was in college when most of her family moved to Florida, and she stayed behind to finish school. She needed a job to help pay tuition, and her mom told her there was a racetrack across the street “and all you have to do is walk the horses.”

Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, is surrounded by media in the winner's circle Saturday.

Cherie DeVaux, trainer of Kentucky Derby winner Golden Tempo, is surrounded by media in the winner’s circle Saturday in Louisville, Ky.

(Michael Reaves / Getty Images)

DeVaux’s plan was to go to medical school, but when an advisor said she had to take a class in organic chemistry, “I just looked at her and said: ‘No, I’m going to go work on the racetrack.’ She’s like: ‘Are you sure?’ and I was like, ‘I’m just going to see how it works.’”

Her first job was with Chuck Simon, who had worked for her father. She was 22 when she showed up at Churchill Downs.

“I was a wild child,” DeVaux said Saturday night. “Chuck saw I was going the wrong way and took me under his wing and made me be an assistant trainer, begrudgingly, because I was really enjoying the party life. But he kind of wrangled me in.

“He would be so proud. I am here because of him. Because he pushed me. He pushed my boundaries. He gave me direction when I needed it. And he was always proud of me. But I just think this definitely would have put him over the top.”

Holding one of the roses that came with Golden Tempo’s victory, she added, “And I can’t wait to drop one of these off at our old barn here.”

She did just that Saturday night before leaving the track.

Cherie DeVaux, trainer of Golden Tempo, looks on during morning workouts ahead of the Kentucky Derby on April 27.

Cherie DeVaux, trainer of Golden Tempo, looks on during morning workouts ahead of the Kentucky Derby on April 27 at Churchill Downs in Louisville, Ky.

(Michael Reaves / Getty Images)

“It was really emotional,” she said Sunday of her stop at Barn 14. “You know, you walk up, and all the memories flood back of being there, and … it’s an honor to get to be able to do something, you know? It’s just a rose, but it meant a lot. That was where I first unloaded my car, and I thought, ‘OK, let’s do this.’”

DeVaux then worked several years for Chad Brown before making the decision to go out on her own. She said Ingordo told her to give it three years and if it didn’t work, she could do something else.

But Ingordo, who has been working in racing since he was 15, spending time with trainers such as Bobby Frankel and Bruce Headley and later his stepfather, John Shirreffs, said he knew it would work.

“I always say that talent and class are evident in horses and people very quickly,” Ingordo said. “And, you know, I’d watch Cherie and see her, and I knew her from her previous job. And I could watch … the one trainer’s name might have been on the headlines, but I saw who was doing the work. And I told her, ‘You’re too talented to be an assistant. And it’d be a waste if you don’t try it.’”

It did work. Slowly at first, but business picked up and DeVaux started winning bigger races. Her breakthrough came in 2023 when she had the likes of More Than Looks, Vahva and She Feels Pretty. The latter provided her first Grade 1 win in the 2023 Natalma at Woodbine, and the next year all three of those horses captured Grade 1 races, including More Than Looks in the Breeders’ Cup Mile at Del Mar. Last year, She Feels Pretty won two more Grade 1s and was voted the Eclipse Award as top female turf horse.

She has a life away from the track as well, as much as any trainer can have. Ingordo has full custody of a 15-year-old daughter from a previous marriage, and he said, “Meeting Cherie was not only good for me, it’s been great for my daughter.”

As for making history, Ingordo said it wasn’t anything they talked about, and DeVaux “doesn’t sit there and go, ‘I’m a woman, hear me roar.’

“But at the same time,” he said, “she’s very cognizant of the fact this is a very male-dominated business throughout history. It’s probably a little chauvinist at times, if not more.

“And for her to do this. … You know, she’s not a one-hit wonder. The top 25 should be her domain, somewhere in there, for a long time.”

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I visited Europe’s best ’24 hour city’ to find out how much you can actually visit a single day

If you’re short on time then a day trip can be an excellent way to see the most iconic sights of a city. This sunny destination under two hours from the UK has been named the best for a 24-hour break thanks to its compact centre

Is 24 hours really enough to experience a new city?

For people short on time or those who want to see only the highlights of a city, a 24-hour day trip can be a great way to get a taste of a new destination, if not a full-blown portion of a place.

Transport provider Mozio recently put together a list of the best European cities for a 24-hour holiday, and at the top is Barcelona: an iconic city with a flight time of under two hours from London.

Keen for a city to explore, and without much time to spare away from my busy family life back home, I hopped on a plane to the Catalonian capital to see how much of Barcelona I could take in in a single day.

Lke most visitors to Barcelona, I started off at the Sagrada Família. In fact, it wasn’t that long after I landed before I stood at the foot of Gaudí’s masterpiece, in awe of the way the ornate spires seemed to stretch endlessly towards the sky. Rosa, an endlessly cheerful and knowledgeable tour guide, was on hand to help me navigate this architectural behemoth.

The small group tour meant there was no aimless wandering. Not only did we skip the lines outside, but we also learned so much about the building, its little details, and the fascinating life of Gaudí, whose passion and money were poured endlessly into the project.

A short walk away is the architect’s Casa Batlló, another attraction that is worth getting skip-the-line tickets for if you’re short of time. On the crowded pavement outside, crowds gather to take photos of the intricate facade, which features colorful mosaics resembling mermaid fins, skeletal columns, and balconies resembling masks with empty eyeholes.

Inside, Rosa led us through each beautifully designed room, explaining the features from the smooth, sleek, curved wood to the ombré tiles on the wall that get progressively darker as you climb the stairs. Every inch of the house has Gaudí’s architectural touches, down to the doorknobs.

A day isn’t a long time to try all the culinary delights that Spain has to offer, but one way to enjoy as much authentic cuisine as possible is to head to Mercat de la Boqueria. It was crowned the world’s best market by the New York Times, and it truly is a foodie heaven. The smell of jamón hangs in the air as you wander round stalls selling cones of cured meat, manchego cheese, olives, and other treats. Grab a bar stool and try some pintxos, a Spanish snack made up of small pieces of bread topped with seafood, meat, or cheese, best enjoyed alongside a cold beer or glass of wine.

For something more substantial, book a table at Can Culleretes, Barcelona’s oldest restaurant that sits off a winding side street near La Rambla. And I’m serious when I say book a table. The queues spill out into the street. Inside this charmingly rustic restaurant that dates back to the 18th century, we were served an incredible array of tapas, including anchovies, huge prawns doused in garlic, and plates of croquettes, washed down with Spanish wine. By the time the crema catalana came round for pudding, most of us were too full to make a proper go of it.

If you’re still standing after all that tapas, and many, many steps, then you may feel like heading somewhere a little more serene. Barcelona’s metro system connects to Funicular de Montjuïc, a short two-minute ride that costs around €3, (£2.60), yet gives you incredible hillside views across the city. From Montjuïc you can watch the sun go down and the lights of Barcelona twinkling below from the bustling city centre to the sandy beach.

Not bad for a day.

Book it

The Sagrada Família small guided tour including tower access starts at £70 per adult (11+), £51 per child (5-10), under 5s go free. A Casa Batilo private tour with skip the line entry for six people starts from £70 per person with early access. Both tours can be booked via TUI Musement.

TUI offers three-night city break packages to Barcelona, staying at the 4* H10 H10 Madison Hotel on a bed and breakfast basis, from £666 per person based on two adults sharing a classic double room, traveling on Ryanair from London Stansted Airport on September 15, 2026. Price includes 10kg of hand luggage.

Have a story you want to share? Email us at webtravel@reachplc.com

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Speaker Mike Johnson once longed for a ‘normal Congress,’ but that seems long gone in the House

House Speaker Mike Johnson has lamented he would like to preside over a “normal Congress,” but the chamber the Republican is leading is anything but.

All-night sessions. Hours of dead zones with no action on the floor. Legislation being written on the fly, behind closed doors. Sudden votes scheduled. Spectacular failures. And, as happened this week, stunning turnarounds in which the House actually passes bills.

“Sometimes it’s an ugly process, sometimes it’s a long process,” Johnson said after House passage of a bipartisan bill to fund much of the Department of Homeland Security, ending the longest agency shutdown in history. “But we got it done.”

Republicans, who face an uphill climb this election year to keep hold of their paper-thin House majority, appear at times as if they are still learning on the job, years after having returned to power in 2022, while they are also about to ask voters in November to rehire them for another term.

This week’s starts and stops — for example, five hours of delay as Johnson huddled behind closed doors to salvage his agenda, then a sudden vote tally near 11 p.m. — would typically have been the kind of situation that shocked the political and procedural senses. Now, it’s just another Wednesday.

Or two weeks ago, when a routine House Rules Committee hearing ended up becoming a midnight forum to debut a just-produced 14-page bill to revise a surveillance bill, known as the Foreign Intelligence Surveillance Act, or FISA, before it was rushed to the floor for a 2 a.m. vote. It failed.

“House Republicans have shown again that they can’t govern,” said Rep. Ted Lieu of California, part of Democratic leadership.

“They routinely pass bills to the Senate that are way too extreme, then it ends up that we have all these floor session days where we’re just doing nothing,” he said.

House GOP’s slim majority makes leader’s job challenging

Johnson, who took over for the ousted Kevin McCarthy more than two years ago, is presiding over one of the slimmest House majorities in modern times, leaving him no room to spare if he’s trying to pass legislation on party-line votes, without Democrats.

The speaker is juggling not only President Trump’s priorities but also those of the various factions that make up his majority, from the conservative House Freedom Caucus to what remains of the GOP’s more pragmatic conservatives.

And Johnson’s own future is always in question, after Republicans chased other speakers, including McCarthy, John Boehner and Newt Gingrich, to early exits.

Last year Johnson, of Louisiana, led passage of the party’s signature achievement, a big bill of tax breaks and safety net cuts, which Trump signed into law. At the time, he quipped about the difficulty of getting it over the finish line.

“I do so deeply desire to have just a normal Congress,” the speaker said in July.

“But it doesn’t happen anymore,” he said. “Our way is to plow through and get it done.”

What’s ahead as House GOP tries to stay in power

Ahead of the fall elections, Johnson and other Republican lawmakers have discussed an agenda that includes the promise of another GOP-only budget package like the tax cuts bill that they could push through the House and the Senate, without Democratic votes.

Budget Chairman Jodey Arrington (R-Texas) said Thursday that he expects “the centerpiece” of that package “will be supporting our troops” with more than $100 billion in funding for the war against Iran as well as money to replenish defense munitions and other Pentagon-related needs.

Despite the turbulent week in the House, Arrington said what they’re calling “Budget reconciliation 3.0” should be the “next order of business.”

Yet GOP lawmakers may decide it’s better to skip the hard work of legislating, and the dramatic upheavals that tend to come with it, and hit the campaign trail to win over voters instead.

Rep. Richard Hudson (R-N.C.), the chairman of the House GOP’s campaign arm, the National Republican Congressional Committee, acknowledged that trying to pass legislation with such a tight majority “can be rough. It’s ugly.”

“I’d be fine with letting us go home and campaign,” Hudson said. “But we’ve got a lot of important work still to do.”

Some of Johnson’s most ardent sparring partners, those most conservative Republican lawmakers, turned their blame for the messy process not on Johnson’s leadership but on their own GOP allies across the Capitol in the Senate, who often dismiss the House’s work.

“Yeah, sometimes, it gets a little tense,” said Republican Rep. Chip Roy of Texas. “But we’re still getting stuff done. We’re sending it over to the Senate. So we look forward to them doing their job.”

Mascaro writes for the Associated Press.

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Nebraska poised to become the first state to implement a Medicaid work requirement signed by Trump

Nebraska on Friday will become the first state to enforce work, volunteer or education requirements for new Medicaid applicants, eight months before the federally mandated requirements kick in.

Advocates worry that the state is launching so rapidly that key details remain unresolved and some people who are eligible for coverage will lose it.

State officials say they’re prepared, training staff and sending letters, emails and texts to people who could be impacted.

Health policy experts, advocates and other states will be watching closely.

“It can be used as a lesson for other states, both where things go well and where things don’t go well,” said Jennifer Tolbert, deputy director of KFF’s Program on Medicaid and the Uninsured.

The law is expected to leave some without insurance

The work requirement is part of a broad tax and policy law that President Trump signed last year. Nebraska Republican Gov. Jim Pillen announced in December that the state would implement it eight months before it was required, saying the aim was “making sure we get every able-bodied Nebraskan to be a part of our community.”

The state had one of the lowest unemployment rates in the U.S. in February: 3.1%.

The federal policy won’t apply to all Medicaid beneficiaries, just those who are enrolled under an expansion that most states chose to make to allow more low-income people to get healthcare coverage.

Under the change, many Medicaid participants ages 19 through 64 will have to show that they work or do community service at least 80 hours a month, or are enrolled in school at least half-time. They’ll also have their eligibility reviewed every six months rather than annually, so they could lose coverage faster if their circumstances change.

Exceptions will be made for people who are too medically frail to work or in addiction treatment programs, among others.

An Urban Institute report from March estimated that the changes would mean about 5 million to 10 million fewer people nationally would be enrolled in Medicaid than would have been otherwise.

Choices states make about how to run their programs are expected to be a major factor in exactly how many people lose coverage.

“The higher the administrative burden, the more likely people are found noncompliant and disenrolled,” said Michael Karpman, who researches health policy at Urban.

Nebraska plans to use data to help determine who qualifies

Not everyone who has coverage will need to submit proof that they’re working.

The state says it will first match enrollees with other data it has to see if participants are working or exempt. The state says it has that information for most of the roughly 70,000 people enrolled in Medicaid through the expansion.

That leaves between 20,000 and 28,000 who would have to provide more information, plus an average of 3,000 to 4,000 new enrollees each month.

At first, they will just need to show that they met the requirements in just one month of the previous 12. The time frame will shift to six months in 2027.

There’s some flexibility. For instance, instead of showing they work 80 hours in a month, someone could instead provide records that demonstrate they earned at least $580, the amount someone earning minimum wage would make in 80 hours.

People who don’t submit requested information within 30 days of being asked could have their applications denied or lose coverage they already have.

The change is causing worry and confusion

Bridgette Annable, who lives in southwest Nebraska, received a letter saying she must meet the work requirements or lose the benefits that pay for her insulin and diabetic supplies.

The 21-year-old mother now has a part-time job, despite being advised against it to protect her mental health. She’s worried about her ability to keep working.

“I am working 30 to 25 hours a week — as much as my employer can provide,” Annable said. “Although I call out of work often due to fibromyalgia pain and bipolar episodes that leave me too tired to leave the house. I have enough energy to take care of my daughter and do some cleaning, but that’s about it.”

Amy Behnke, the chief executive officer of the Health Center Association of Nebraska, said that staff members who help people enroll with Medicaid and their clients have a lot of questions, including some that the state hasn’t yet answered.

Some examples: Apprenticeship programs are supposed to count for work requirements, but does that apply only to those certified by the state’s labor department? There’s an exemption for people who travel to a hospital for care, but there’s not clarity on how far the journey must be.

KFF’s Tolbert noted that the state issued its 295-page list last week of conditions that could qualify someone as medically frail. “We don’t know if it’s a comprehensive list,” she said.

“The speed at which we are choosing to implement work requirements hasn’t left a lot of space for really meaningful communication,” Behnke said.

And Nebraska could have to make changes after the federal government provides guidance that is expected in June.

Mulvihill and Beck write for the Associated Press. Mulvihill reported from Haddonfield, N.J.

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Sabastian Sawe sets world record, breaks two-hour marathon mark

The fabled two-hour barrier for a marathon has been broken, officially, in an once-inconceivable achievement in sports.

Not by one runner, but two.

In a race for the ages, Sabastian Sawe of Kenya won the London Marathon in 1 hour, 59 minutes and 30 seconds on Sunday, shattering the previous men’s world record by an astonishing 65 seconds.

“What comes today is not for me alone,” the 29-year-old Sawe said, “but for all of us today in London.”

Just 11 seconds further back was Ethiopia’s Yomif Kejelcha, who — running in his first-ever marathon — also covered the 26.2-mile (42.2-kilometer) course in under 2 hours.

Completing the podium was Uganda’s Jacob Kiplimo, who broke the previous world-record time — set by Kenya’s Kelvin Kiptum in Chicago in 2023 — by seven seconds, finishing in 2:00:28.

In an exhilarating sight, Sawe ran quicker as the marathon went on, covering the second half of the race in 59 minutes and 1 second. He pulled clear with Kejelcha after 30 kilometers and then made his solo break in the final two kilometers, sprinting along the finish on The Mall to loud cheers.

Sabastian Sawe of Team Kenya runs ahead of Yomif Kejelcha of Team Ethiopia during the London Marathon on Sunday.

Sabastian Sawe of Team Kenya runs ahead of Yomif Kejelcha of Team Ethiopia during the London Marathon on Sunday in London.

(Warren Little / Getty Images)

Sawe, who retained his title in London, said it was a “day to remember for me” and thanked the huge crowds who lined the streets of the British capital to witness what might be regarded as a feat marking the peak of human physical achievement.

“I think they help a lot,” he said, “because if it was not for them you don’t feel like you are so loved … with them calling, you feel so happy and strong.”

Under two hours has been done before — unofficially

Breaking two hours in a marathon has been a long time coming — and has been done before.

However, when Eliud Kipchoge — the Kenyan long-distance great — achieved the feat in Vienna in 2019, it was in a specially tailored race called the “1.59 Challenge” that was arranged by British billionaire Jim Ratcliffe in favorable conditions, on a 6-mile (9.6-kilometer) circuit, and using rotating pacemakers.

That meant it wasn’t classed as an official race setting, so Kipchoge’s time of 1:59:40 didn’t go in the record book.

In any case, Sawe surpassed that time by 10 seconds on a mostly flat course across London in dry, sunny conditions.

Sabastian Sawe smiles and holds up his adidas shoe with his world-record marathon time written on it.

Sabastian Sawe, of Kenya, smiles and holds up his adidas shoe with his world-record marathon time written on it Sunday in London.

(Alex Davidson / Getty Images)

“The goalposts have literally just moved for marathon running,” Paula Radcliffe, a former winner of the London Marathon, said during commentary of the race for the BBC.

At the turn of the century, the world’s best time for the men’s marathon was 2:05:42, set by Khalid Khannouchi in Chicago in 1999.

Khannouchi broke his own record by four seconds in 2002 — the last time the fastest men’s marathon was run in London — and it has been whittled down gradually over the last 24 years by a succession of Kenyan and Ethiopian runners, including Haile Gebrselassie, Wilson Kipsang, Kipchoge and most recently Kiptum.

Assefa wins fastest-ever women’s-only marathon

A record was also set in the women’s race, with Ethiopia’s Tigst Assefa pulling away with about 500 meters remaining to win in 2:15:41 and defend the title in the fastest-ever time in a women’s-only marathon.

However, it was 16 seconds slower than the course record set by Radcliffe in 2003 when it was a mixed race.

Tigst Assefa extenders her arms and celebrates as she crosses the finish line during the London Marathon.

Tigst Assefa celebrates as she crosses the finish line during the London Marathon women’s race in a record time Sunday.

(Ian Walton / Associated Press)

Kenya’s Hellen Obiri was 12 seconds back in second place in a personal-best time on her London debut and compatriot Joyciline Jepkosgei was third, a further two seconds adrift. It was the first time three women have run under 2 hours, 16 minutes in a marathon.

“I screamed when I finished because I knew I was breaking the world record,” Assefa said.

“I felt much healthier today and have worked really hard on my speed and all my training has paid off.”

Swiss double in wheelchair races

In the wheelchair races, there was a Swiss double with Marcel Hug powering to a sixth straight men’s title — and eighth in total — and Catherine Debrunner beating Tatyana McFadden in a close finish to defend the title.

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‘World’s most beautiful village’ with rolling hills is less than hour away from London

This village has been crowned the “world’s most beautiful” and it’s not hard to see why. There you can enjoy breathtaking views, walk along the river and it’s not far from London

The village named the “world’s most beautiful” is just a short train journey from London. In the UK, there’s so much on offer, from “pretty villages” to gorgeous coastal towns.

So if you fancy venturing out of the area this weekend, you must add this village to your list. Beyond its picturesque cottages, historic market towns and stunning views, the Cotswolds has served as a backdrop for numerous films, including Harry Potter. Not only is it appealing to locals, it’s also a great destination to tick off your bucket list if you’re visiting the UK.

Now one woman has declared Bibury as a must-visit location after it was crowned the “world’s most beautiful village”.

In a TikTok post, Amy, who showcases “the best of the UK and beyond”, shared footage with her 169,500 followers offering a glimpse of the gorgeous area.

She said: “This English village was just named the most beautiful in the world where 17th century cottages meet Riverside charm.

“Do you agree? Would it be top of your list?”

In late 2025, Forbes declared Bibury the most beautiful village on the planet. Its most celebrated feature is Arlington Row, where a terrace of 17th-century cottages sits alongside the picturesque River Coln and Bibury Trout Farm.

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Why is Bibury so popular?

Beyond its renowned honey-coloured stone cottages, the village boasts rich heritage and picture-perfect scenery.

While poet William Morris famously described it as the “most beautiful village in England”, Forbes elevated its status just last year by naming Bibury the “most beautiful” globally.

There’s no shortage of things to do either, from wandering alongside the River Coln to taking in the peaceful riverside paths and stunning stone buildings.

Fishing fans, or those keen to give it a go, can visit Bibury Trout Farm, which opened its doors in 1902, making it the oldest and most popular trout farm in Britain.

Nestled in the village centre, you can stroll through the charming streets before diving into the experience.

Bibury’s appeal extends far beyond locals – it’s become one of the Cotswolds’ top tourist hotspots for visitors from all over.

Meanwhile, Bourton and Cirencester are both within easy reach for a day out. Even a brief couple of hours in Bibury is typically enough.

The compact village is ideal for a leisurely Sunday, though the surrounding areas are well worth discovering too.

It’s also featured as a filming location for several high-profile film and television productions, including Stardust (2007) and Bridget Jones’s Diary (2001).

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Hollywood editors get new AI tool from Google, Avid

Avid Technology, the editing software company, is the latest entertainment industry player to introduce AI into its toolbox.

The company behind industry-standard platforms Pro Tools and Media Composer said it is entering a multiyear partnership with Google Cloud.

The goal is to implement both generative and agentic AI so that users can turn the “mostly manual process into an intelligent, AI-assisted experience,” Avid said in a statement Thursday morning.

“The primary bottleneck in Hollywood is manual labor [in editing] and managing thousands of hours of high-risk footage,” Avid Chief Executive Wellford Dillard told The Times. “This isn’t us just adding a new tool. It’s going from static files sitting on hard drives, to living data that understands its context.”

Google’s Gemini models and Vertex AI will be embedded directly into Avid’s processes, offering customers a chance to accelerate their editing time. Avid’s Media Composer, the editing system used on most professional film and TV productions, will now include a Gemini extension that could enhance metadata and generate B-Roll.

The company said that, overall, using AI on its platforms enables systems to understand the context of every file — allowing users to describe what they need based on visual movements, on-screen dialogue and emotional cues.

Dillard said that when someone uses Media Composer for editing, it can often be frustrating to click in and out of the application in search of the right shot buried within hours of footage. Now, he said, clients can describe the shot to AI, which could find it faster.

Anil Jain, global managing director at Google Cloud, said that these tools can do both simple functions like tweaking a scene’s background, or achieve more complex tasks, like creating promotional material.

“Most storytellers don’t get excited about putting together a promo, but if they could leverage AI to help do it a lot faster, then it becomes more interesting, gets it done and opens up the possibility of more creative time,” Jain said.

Avid, founded in 1987, is based in Burlington, Mass., and has since established itself as a pioneer in digital audio and video editing software. The company said its software was used to edit 87% of this year’s Oscar-winning productions, including the movies “K-Pop Demon Hunters” and “One Battle After Another.”

Avid is one of the many media companies that has recently incorporated AI into its services. In March, Netflix acquired Ben Affleck’s AI filmmaking company, Interpositive. Disney invested $1 billion into OpenAI’s now shuttered Sora platform. Even in the music industry, the “Big Three” labels have inked individual deals with AI startups like Udio, Klay and Suno — after suing a few of the same companies for copyright infringement.

Ramesh Srinivasan, a professor of information studies at UCLA, said these kinds of deals are the “new normal” and that “almost every single industry is being sort of eaten up by the Pac-Man of AI.”

But he said he’s not sure that this kind of AI will only be used for mechanical tasks.

“Editing is a task that involves creativity and human artisanship. An editor is not just someone who mechanically reproduces a number of steps. They have a sense of storytelling in mind,” said Srinivasan. “In terms of AI-created content, the initial research is showing that it is flattening creativity. It’s putting out the dominant patterns that it can copy, rather than reflect, the specific diverse and creative ways we can write, or edit.”

To Dillard, Avid’s CEO, incorporating AI is a way to ensure that creators can make enough content to keep up with audiences’ increasing demands.

“The demand for content is almost insatiable, and dollars are limited. This work can help compress those production timelines [and make] more content,” Dillard said. “Our hope is that we’re actually enabling the world, within the same budget constraints that the studios have today. You’re producing more content, and you are also opening the doors for smaller production houses to be able to produce more content competitively.”

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