impossible

You’d be forgiven for not remembering the trade.

On June 2 this year, the Dodgers were in need of pitching help. At the time, their rotation had been ravaged by injuries, and their bullpen was overworked and running low on depth. Thus, the morning after their relievers had been further taxed following a short start from Yoshinobu Yamamoto against the New York Yankees, the Dodgers went out and added a little-known pitcher in a deal with the Seattle Mariners.

Will Klein’s origin story had quietly begun.

Almost five months before becoming a World Series hero for the Dodgers, pitching four miraculously scoreless innings in their 18-inning Game 3 win over the Toronto Blue Jays on Monday night, Klein joined the organization as a largely anonymous face, acquired in exchange for fellow reliever Joe Jacques in the kind of depth transaction the Dodgers make dozens of over the course of each season.

At that point, even Klein couldn’t have foreseen the star turn in his future.

He had a career ERA over 5.00 in the minor leagues. He had struggled in limited big-league action in 2024, battling poor command while giving up nine runs in eight outings. He had already changed organizations three times, and been designated for assignment by the Mariners the day before.

“I woke up to a 9 a.m. missed phone call and a text,” Klein recalled Tuesday. “Found out I was DFA’d. Really low then.”

Now, in the kind of serendipitous turn only October can create, Klein has etched his name into World Series lore.

“I don’t think that will set in for a long time,” he said.

As the last man standing in the Dodgers’ bullpen in Game 3, Klein pitched more than he ever has as a professional, tossing 72 pitches to save the team from putting a position player on the mound.

Afterward, he was mobbed by his teammates following Freddie Freeman’s walk-off home run, then greeted in the clubhouse with a handshake and an accomplished “good job” from Dodgers pitching icon Sandy Koufax.

He had 500 missed messages on his phone when the game ended. He got 500 more as he tried responding to everyone Tuesday morning. His middle school in Indiana, he said, had even hung a picture of him up in a hallway.

“I woke up this morning still not feeling like last night had happened,” he said in a pre-Game 4 news conference. “It was an out-of-body experience.”

A thickly bearded 25-year-old right-hander originally from Bloomington, Ind., Klein’s path to Monday’s extra-inning marathon could hardly have been more circuitous.

In high school, he was primarily a catcher, until a broken thumb prompted him to focus on pitching. When he was recruited to Eastern Illinois for college, his ACT scores (he got a 34) helped almost as much as his natural arm talent.

Dodgers pitcher Will Klein also pitched in the eighth inning of Game 1 in Toronto, allowing no runs.

(Robert Gauthier / Los Angeles Times)

“I’m big into academics,” Eastern Illinois coach Jason Anderson said by phone Tuesday. “If you can figure out science class, you can figure out how to throw a slider.”

Anderson wasn’t wrong. Though Klein was initially raw on the mound, posting a 5.74 ERA in his first two collegiate seasons, he worked tirelessly on improving his velocity, learning how to leverage the power he generated with his long-limbed, 6-foot-5 frame.

As his fastball crept toward triple digits, he started garnering the attention of MLB scouts. Though Klein’s junior season in 2020 was cut short after four outings by the COVID-19 pandemic, he’d shown enough promise in collegiate summer leagues beforehand to get drafted in that year’s fifth and final round by the Kansas City Royals.

Klein’s rise to the major leagues from there was not linear. His poor command (he averaged nearly seven walks per nine innings in his first three minor-league years) hampered him even as he climbed the Royals’ organizational ladder.

Klein reached the big leagues last year, but made only four appearances before being included in a trade deadline deal to the Oakland Athletics. This past winter, after finishing the 2024 campaign with an 11.05 ERA, he was dealt again to the Mariners.

The return in that package? “Other considerations,” according to MLB’s transaction log.

“His whole career has been [full of] challenges,” Anderson said. “He really just needed some time and somebody to believe in him.”

With the Dodgers, that’s exactly what he found.

Long before his arrival, Klein had admirers in the organization. The club’s director of pitching, Rob Hill, was immediately struck by his high-riding heater and mid-80s mph curveball when he first saw Klein pitch in minor-league back-field games during spring training in 2021 and 2022.

“I vividly remember his outings against us in spring training,” Hill said. “I was walking around, asking people, ‘Who is this guy?’ That was my first introduction to him.”

After being traded to the Dodgers, Klein was optioned to triple-A Oklahoma City to work under the tutelage of minor-league pitching coaches Ryan Dennick and David Anderson. There, he started to refine his approach and trust his high-octane arsenal in the zone more. In 22 ⅔ innings, he struck out a whopping 44 batters.

“[He was] never short for stuff,” Anderson told OKC’s team broadcaster at the end of the season. “It was just accessing the zone and forcing action.”

During four stints on the MLB roster over the second half of the year — during which he posted a 2.35 ERA in 14 outings — Klein also worked with big-league pitching coaches Mark Prior and Connor McGuiness on developing a sweeper to give him an all-important third pitch.

“I think our coaches have done a fantastic job of cleaning up the delivery, challenging him to be in the hitting zone, working on a slider,” manager Dave Roberts said. “He’s a great young man. And it’s one of those things that you don’t really know until you throw somebody in the fire.”

The Dodgers didn’t do that initially this October, sending Klein to so-called “stay hot” camp in Arizona for the first three rounds of the playoffs.

But while Klein was there, Hill said it “was very notable how locked in he was” during bi-weekly sessions of live batting practice, with the pitcher “consistently asking for feedback and trying to continue to make sure his stuff was ready.”

During the team’s off week before the World Series, Klein was sent to Los Angeles to throw more live at-bats against their big-league hitters. He promptly impressed once again, helping thrust himself further into Fall Classic roster consideration as the team contemplated ways to shuffle the bullpen.

Still, when Klein learned he would actually be active for the World Series, he acknowledged it came as a surprise.

“I’m just going to go out there,” he told himself, “and do what I can to help all these guys that have worked their butts off.”

After holding his own in a scoreless inning of mop-duty in a Game 1 blowout loss to the Blue Jays, Klein started sensing another opportunity coming as Monday’s game stretched deep into the night.

“I realized that, when I looked around in the bullpen and my name was the only one still there, I was just going to [keep pitching] until I couldn’t,” he laughed.

Every time he returned to the dugout between innings, he told the coaching staff he was good to keep going.

“No one else is going to care that my legs are tired right now,” he said. “Just finding it in me to throw one more pitch, and then throw another one after that.”

Back in Illinois, Anderson was like everyone else from Klein’s past. Awed by how deep he managed to dig on the mound. Moved by a moment they, just like him, could have never foreseen or possibly imagined.

“Everything about him — his mentality, his work ethic, his obstacles, his path — it was like he was destined to be on that field at that time,” Anderson said. “That’s one of the greatest baseball games in history.”

And, against all odds, it was Klein who left perhaps its most heroic mark.

A FOUR-BEDROOM property in Dunfermline, is making the internet laugh for all the wrong reasons.

The Rightmove home has gone viral for photoshopping cars to a listing photo that look like they’ve been “stuck on with Pritt Stick.”

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What was meant to advertise a family home has instead become an internet meme.

On the market for £295,000 the house should be inviting and comforting but the listing makes it hard to see past the comedic value.

Instead, the photos look like a school art project.

The cars have been awkwardly stuck on the image to look as though they are “parked” on the driveway.

The photo, presumably there to show the spaciousness of the driveway, has done its job however.

The Emoov agent told Metro that the vendor had organised “quite a few viewings” off the back of the listing.

One social media user even noted: “Room for 4 or 5 cars but they only photoshopped 3 in!”

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The photographs of the interior are so saturated that the glow almost makes them look like stills from a video game.

Another person joked that the photos themselves “look like they were taken on a Game Boy,” in reference to the low-resolution, pixelated quality of some shots.

Reddit commenters called it “the worst Photoshop effort I’ve seen on Rightmove.”

Others compared the images to a “Sims build gone wrong.”

Each photograph showcases another bizarre detail, turning what should be a standard property listing into a hilarious set of meme-worthy pictures.

Rather than envisioning their future in living in the home, viewers are laughing at stuck on cars, gleaming interiors, and grainy, Game Boy–style images.

The Scottish property proves that in the age of social media, sloppy picture editing will get far more views than the actual listing.

A spokesperson for Emoov said: “As an online estate agent, our vendors manage their own property sale—conducting viewings and creating their listings.

“Unless vendors choose our professional photography package, the photos are taken (and, as in this case, edited) by the sellers themselves.

“The images in question were supplied entirely by the vendor and not produced by Emoov.

“Vendors are free to use whichever images they prefer, however creative they choose to be.

“It seems this vendor enjoyed a weekend of virtual arts and crafts and decided to put the results on display!”

Whether or not the comical advertising works and property eventually finds a buyer, this house will be remembered and laughed about for a long time.

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This comes following last month’s Open House Festival during which Rightmove opened the doors to some of London’s most interesting and aesthetic houses.

Each year, over 700 properties, buildings and other sites of architectural significance across London’s 33 boroughs open their doors with many said to be a “once in a lifetime visit”.

Lalo Schifrin, the six-time Oscar nominee and prolific composer best known for his Grammy-winning “Mission: Impossible” theme, has died. He was 93.

Schifrin died Thursday morning at a hospital in Los Angeles, his son Will Schifrin, a writer and producer, told The Times. He reportedly died of complications from pneumonia.

The Argentine-born composer infused elements of jazz, rock and funk into classical orchestral music and is credited with helping to change the sound of movies. Schifrin was Oscar-nominated for his scores on the films “Cool Hand Luke” (1967), “The Fox” (1967), “Voyage of the Damned” (1976), “The Amityville Horror” (1979) and “The Sting II” (1983). He also earned a song nomination for “People Alone” from the 1980 drama “The Competition.” In 2018, Schifrin received an honorary Oscar.

Schifrin wrote more than 100 scores for film and television over the course of his Hollywood career, including for the movies “Dirty Harry” (1971), “THX 1138” (1971), “Enter the Dragon” (1973) and the “Rush Hour” trilogy, as well as TV shows including “The Man from U.N.C.L.E.” and “Starsky and Hutch.”

“I learned to be a chameleon,” Schifrin told The Times in 2018. “In motion pictures, the real creator is the screenwriter and the director and the producer. I have to work for what they have made. Like a chameleon, I do whatever is necessary.”

In 2011, Schifrin modestly described himself as a “music maker.” While the catchy theme for the spy series “Mission: Impossible” remains one of his best known pieces, Schifrin told The Times “it was just work.”

“For everything I’ve done, I did my best,” Schifrin said in 2016. “I like what I did. I don’t think it’s a masterpiece, but it’s OK. … If people like it, to the point of embracing it, great. That doesn’t happen too often.”

Born in Buenos Aires, Argentina, in 1932, Schifrin was exposed to music from a young age. His father Luis served as the concert master of the Philharmonic Orchestra of Buenos Aires at the Teatro Colón. And Schifrin was just 5 years old when a trip to the movies with his grandmother made him realize that it was the music that made the horror film so scary.

Schifrin began studying piano under Enrique Barenboim, the father of pianist and conductor Daniel Barenboim, when he was 6. He discovered and fell in love with modern American jazz as a teenager. Upon the suggestion of one of his teachers, he applied for a scholarship to attend the Paris Conservatory. During his time there, he made money playing at jazz clubs.

After returning to Buenos Aires, Schifrin started his own jazz band to perform at concerts and on TV. He eventually met American jazz trumpeter Dizzy Gillespie, who invited him to work for him in the U.S. In 1963, while he was working with Gillespie after moving to New York, Schifrin was offered a job in Hollywood.

“My first movie was called ‘Rhino,’” Schifrin told The Times in 2011. “It was a low-budget movie, but it was the beginning.”

Schifrin is survived by his wife, Donna, and his children, William, Frances and Ryan.

Chelsea manager Enzo Maresca says it is “impossible” to organise normal training sessions amid a “code red” severe heat warning in Philadelphia at the Club World Cup.

The Blues players trained at Subaru Park, the home of local Major League Soccer (MLS) side Philadelphia Union, in 37C.

The 45% humidity means it feels more like 45C, according to accuweather.com, and temperatures on Monday were predicted to top 100 degrees Fahrenheit (37.8C) for the first time in 13 years.

“This morning’s session has been very, very, very short,” said Maresca, adding that “otherwise you don’t save energy for the game”.

“It’s been just about tomorrow’s game, planning for tomorrow, and that’s it. No more than that,” the Italian added.

“As you can see, it’s not easy in these conditions with these temperatures. We are going to try to do our best.”

The local public authority has warned people in Philadelphia to avoid “work in high-heat environments” and “strenuous physical activity”.

However, some matches at Fifa’s newly expanded tournament have kicked off in the middle of the afternoon, with temperatures at their highest.

“It’s difficult to work with these temperatures but we are here and we trying to do our best and we will try to win tomorrow,” said Maresca.

Similar problems have been faced by other clubs, raising concerns about the United States co-hosting the World Cup at this time next year.

Borussia Dortmund manager Niko Kovac said he was “sweating like I’ve just come out of a sauna” after his side beat Mamelodi Sundowns in 32C heat in Cincinnati on Saturday.

After Atletico Madrid’s 4-0 defeat by Paris St-Germain in 32C in Pasadena, midfielder Marcos Llorente said it was “terribly hot” and added “my toes were sore, my nails were hurting – it’s incredible”.

Chelsea are under pressure for their final Group D match against Tunisia’s ES Tunis after losing 3-1 to Brazilian club Flamengo last time round.

The Blues need to avoid defeat to qualify as runners-up, which would secure a last-16 tie against Bayern Munich, Benfica or Boca Juniors.

Captain Reece James is a doubt because he is “ill” and Nicolas Jackson is suspended after his red card last week and was left out of the open training session on Monday.

“In the first two months of me being professional, I realised that goal’s impossible. I was naive when I said that. I said that before I turned professional.

“I didn’t realise how much you can’t control in this boxing game. You think since I turned professional, the world champions have been Daniel Dubois, Oleksandr Usyk and Tyson Fury.

“There’s no way in two years I would have put myself in a position to fight them.”

Itauma’s two-round destruction of Mike Balogun on Saturday extended his record to 12 wins and 10 knockouts.

He was initially marketed as the teenager to break Tyson’s record, but denied it was only ever a clever “marketing strategy” for his career.

A chaotic blue alien and the high-flying escapades of Tom Cruise propelled the Memorial Day weekend box office to record heights, giving relief to theater owners still struggling from a post-pandemic malaise among moviegoers.

Walt Disney Co.’s live-action film “Lilo & Stitch” hauled in $183 million in its opening weekend in the U.S. and Canada, according to studio estimates, placing it in first place. It’s the biggest Memorial Day weekend opener ever, not adjusting for inflation, topping “Top Gun: Maverick,” which debuted with $160.5 million in 2022.

Paramount Pictures and Skydance Media’s “Mission: Impossible — The Final Reckoning” brought in $77 million domestically for second place. “Final Destination Bloodlines,” “Thunderbolts*” and “Sinners” rounded out the top five this weekend.

The two new studio blockbusters were big overseas, too. Globally, “Lilo & Stitch” collected $341.7 million including domestic ticket sales. The worldwide tally for “Mission: Impossible,” the eighth in the series, was $190 million.

Aria Clark fills up her Lilo and Stitch cup with slushy before going into the movie with her mom, Lexi, and brother Leo at AMC Century City.

Historically, the holiday has been one of the biggest moviegoing weekends of the year, serving as a springboard for the busy summer months. But since the 2020 pandemic and the dual writers’ and actors’ strikes in 2023, it has become a less reliable indicator of the theatrical business.

“The calendar thinned out a little bit, particularly post-pandemic,” said Eric Handler, media and entertainment analyst at Roth Capital. “You just didn’t have the depth that you used to have. But it’s good to see that there’s two big event movies this year.”

“Lilo & Stitch” and “Mission: Impossible” also largely catered to different audiences, lowering the risk that audiences would pick and choose between similar films. Box office grosses have typically done better with more genres in theaters.

The reported budget for “Lilo & Stitch” was $100 million, while “Mission: Impossible” reportedly cost $300 million to $400 million to produce, placing it among the most expensive movies ever.

Movie goers attend showings of “Lilo & Stitch” at AMC Century City.

The strong showing on Memorial Day weekend adds to a solid spring at the box office. Powered by films including Warner Bros. Pictures’ “A Minecraft Movie” and Ryan Coogler’s “Sinners,” domestic theatrical revenue for April totaled $875 million, close to the pre-pandemic average of $886 million for the same month from 2015-19, Handler said.

Then in May came Disney and Marvel Studios’ “Thunderbolts*” and Warner Bros. Pictures’ “Final Destination Bloodlines,” which have kept up steady business at theaters.

“This spring has been so good for the box office, it usually means the summer is going to be strong,” said Kimberly Owczarski, associate professor in the department of film, television and digital media at Texas Christian University. “Last year, we didn’t have those big tentpoles in April and early May that usually start the season. Because we’ve had that, people are in the moviegoing mood.”

Last year, the holiday weekend grossed just $132 million, making it the worst Memorial Day weekend box office in nearly 30 years. Films like “Furiosa: A Mad Max Saga” and “The Garfield Movie” brought in about $30 million each that weekend, a distinct difference from the mega-hauls that blockbusters traditionally gross during Memorial Day weekend.

KK McDermott attends a showing of “Mission: Impossible” at AMC Century City.

The slow start last year to the all-important summer movie season made distributors and exhibitors anxious. It wasn’t until Disney-Pixar’s “Inside Out 2” debuted in mid-June that the box office started to turn around.

This year, however, a seemingly strong lineup of familiar blockbusters for most of the summer has given industry insiders optimism.

Sony Pictures’ “Karate Kid: Legends” comes out at the end of the month, followed by Lionsgate’s “John Wick” spin-off “Ballerina” in early June. Other anticipated releases include Universal Pictures’ live action “How to Train Your Dragon” and “Jurassic World Rebirth,” Disney-Pixar’s original animated film “Elio,” Warner Bros.’ “Superman” and Disney and Marvel Studios’ “The Fantastic Four: First Steps.”

That’s boosted hopes for a stronger overall theatrical business this year.

Analysts say the 2025 domestic box office could gross an estimated $9.2 billion to $9.5 billion, which would be an improvement on last year’s $8.7 billion. More importantly, it’s higher than the 2023 box office total of $9 billion, which would indicate continued growth and a “true recovery,” Handler said.

However, those numbers still pale in comparison with pre-pandemic box office totals, including $11.4 billion in 2019 and $11.9 billion in 2018.

Moviegoers head to showings of “Lilo & Stitch,” one of this Memorial Day weekend’s biggest films at AMC Century City.

Even before the pandemic, theaters were starting to see declines in attendance, a trend that accelerated during COVID-19 when people got used to staying at home and watching movies on streaming platforms. As the pandemic and the strikes decreased the number of movies in theaters, and the length of time between a movie’s theatrical debut and its availability for home viewing shortened, theaters lost more of the crucial business of the casual moviegoer.

“When the content is good, people show up,” Handler said. “The content cycle is favorable right now, and hopefully we’ll see that continue through the next two years.”

Esai Morales is on a death-defying mission to make Tom Cruise’s life impossible, yet again, in the latest installment of the “Mission: Impossible” action film franchise. Titled “The Final Reckoning,” the movie was released Friday.

Morales reprises his role as Gabriel, an assassin liaison set on carrying out a dangerous mission for Entity, an artificial intelligence system gone rogue, whose capabilities render it a danger to human society. This role dates back to the first “Mission: Impossible” film in 1996, as a murder Gabriel committed was the impetus for Ethan Hunt (Tom Cruise) to join the Impossible Missions Force.

“I have to look at Gabriel as the star of his own movie,” said Morales in a video call. “I play these characters with as much humanity as I can.”

Although for most of the franchise Gabriel is presumably dead, audiences are introduced to Morales’ character in the 2023 summer flick, “Mission: Impossible — Dead Reckoning Part One.” Besides shouldering responsibility as the main antagonist, which involves risky stunts opposite veteran adventurer Cruise, Morales also made franchise history as the first Latino lead in the action series.

The Brooklyn-born Puerto Rican actor is best known for his role as Bob Morales in the 1987 Chicano film “La Bamba” and as Jesus “Chucho” Sánchez in 1995’s “Mi Familia” — both of which been added to the National Film Registry at the Library of Congress. Morales is also known for his roles as Joseph Adama in the “Battlestar Galactica” prequel spin-off of “Caprica,” as well as Camino del Rio in Netflix’s “Ozark” and villain Deathstroke in the DC “Titans” series.

“The thing I love about ‘Mission: Impossible,’ with Gabriel, is that you don’t know he’s Latino,” Morales said. “It doesn’t focus on race. It focuses on the race to get the key!”  

Likewise, the release of the last two “Mission: Impossible” films was a dash to the finish. Directed by Christopher McQuarriel, filming spanned five years with some stops along the way due to the COVID-19 pandemic, plus the 2023 strikes by members of the Screen Actors Guild (SAG-AFTRA) and the Writers Guild of America. Additional costs due to inflation brought the total budget of the Paramount Pictures movie up to $400 million, making it one of the most expensive films of all time.

Morales considers its release a momentous occasion — and a “graduation” of sorts.

“All those obstacles are like the pressure that creates a diamond out of coal,” he said. “I hope that the audiences feel what I felt and continue to feel when I watch the film.”

This interview has been edited for clarity and shortened.

 How did you prepare physically and mentally for the role in ”Mission: Impossible”?
I was asked if I was physical and I said, “Actually, yeah.” I love playing tennis so my conditioning is really good. During the pandemic, I [would sneak] into the ocean at dusk and I would swim at night for hours at a time. It was kind of scary. Then [I got] to London and met some of the finest stunt people who do fighting, acrobatics, knife fighting, boxing. The thing is to get your reflexes in shape, because sometimes you have to do take after take and you don’t want to gas out.

Mentally it’s a lifetime of preparation. It’s not like I can study the life of Gabriel, so you apply what you can about your own character and characteristics under imaginary circumstances. Some of it comes from the ether… from the ether going after Ethan [laughs]. It’s an instinct and a lifetime of seeing movies, including the “Mission: Impossible” movies. They work hard. One of the most comforting things they instill is [that] “we’re not gonna leave until we get it right.”

Cruise is known for his gutsy live-action scenes. What was it like to join him on these scenes?
It’s thrilling. I couldn’t think of anyone else whose hands I’d want to put my well-being in, because look at his track record: He’s still alive and extremely healthy, and he doesn’t take these things lightly. He’s extremely strict about safety. Life is inherently risky. If you’re gonna take other risks, it’s best to take them with people that have survived and thrived for decades doing the same.

There’s a death-defying scene up in the air that was being teased a lot in this press run. What was going through your mind as you were up there?
After the initial prayers and thanking God, the universe and the angels, who and whatever has kept me alive and blessed me with an amazing life so far… You’ve gotta let go and let God, as they say.

What impact has this franchise had on your long-term career?
 It’s a blessing. I got the job during one of the most trying times of my life — and everyone else’s. I hope it’s not all downhill from here. I’m just grateful because I got to work on something at this scale, with these kinds of collaborators.

I am hoping that the work I continue to do leads to meaningful roles and characters that enhance the human condition for having watched it. I wanna do things that make people feel good about being human. Even if I’m the bad guy, somebody’s gotta play the bad guy. Right?

But is Gabriel really the bad guy?
Not in this actor’s eyes. For me, I have to look at Gabriel as the star of his own movie.  Wars are not fought by people who feel they’re gonna lose them.  So I play these characters with as much humanity as I can.

How did the COVID-19 pandemic and Hollywood strikes impact production of this film?
I am on the board of SAG-AFTRA. I did feel the impact of both COVID-19 and the strikes. I mean, it was not easy, it was not fun. It’s still not easy. We still have to deal with new media or new technology, speaking of AI. The production stuck together. When you struggle with adversity, it makes you stronger.

You consider yourself an honorary Chicano, particularly because of your role as Bob Morales in “La Bamba.” What memories come to mind when you think back to that role?
 So many, but the incredible irony or synchronicity or synergy that a role with my [last] name on it would be one of the most remembered. They’d say, ‘That has your name all over it.’ Well, this [role] literally did. When people wanted me to focus more on Ritchie, I wanted to bear witness and lend my pain to the role of Bob [Ritchie Valens’ brother].

I don’t know where my career would be without that film and a few others. When you have the ability to be with the person you are portraying, first of all, it’s an extreme amount of pressure because they’re there and you’re not them. And it’s like you’re gonna pretend to inhabit their being and their life. You don’t wanna mess up. But [Bob and I] were able to bond and have a few beers and really kick back, and I was able to absorb Bob’s biorhythm. I absorbed his Mexicanismo, [the same way] Anthony Quinn portrayed “Zorba the Greek.” [Whenever] he went [into] a Greek restaurant, plates would crash in honor of him and his portrayal … and he is a Mexican Irish actor.

 I think a lot of people forget that you’re Puerto Rican because you play the Mexican role so well.
I’m proud to be Puerto Rican, but I’m so secure in it that I don’t feel like I have to wear my banner on my head. I just want my work to speak for itself. We have to embrace that which has toughened us and has given us character and has given us something a little extra yearn for and live for.

There are many Latinos in sci-fi films. I’m thinking of you in “Caprica.” There’s also Diego Luna and Adria Arjona in “Andor,” Zoe Saldaña in “Guardians of the Galaxy,” Pedro Pascal in “The Mandalorian,” Ricardo Montalbán in “Star Trek …” What do you think of space roles introducing Latino actors to new audiences?
 How about to their own audience? We make up 25% of the movie-going audience, at least. It’s a wise decision to include people that in the past were overlooked. We were overlooked. So to put in all the great people is serving your market and representing them. It’s long overdue but extremely welcomed.

Is outer space the gateway to more Latinos in mainstream roles in rom-coms or action?
I would like to see that. I would like to see us play more central characters, people that we can grow to learn, grow to love and feel for, because I think that’s what movies do. They let you inside the heart of your lead characters. And you just can’t help but to love them, you know?

Tom Cruise has starred as the lead in the Mission Impossible series for eight films and with the final instalment now in cinemas, fans can refresh their memories on TV tonight

One of Tom Cruise‘s award-winning Mission Impossible movies is airing on TV tonight (Saturday, May 24). It comes just days after the eighth and final movie in the series, Mission: Impossible – The Final Reckoning was released in UK cinemas.

Many fans will be heading to the pictures to see the film this bank holiday weekend, and if you want a refresher on what’s happened previously, Channel 4 has you covered tonight.

The channel will be airing the seventh film in the series, Mission: Impossible – Dead Reckoning which was released in 2023. The film sees Ethan Hunt seek to destroy the Entity, a powerful AI, in order to keep its dangerous power away from corrupt governments.

Channel 4 will be airing the film at 8pm on Saturday, and will run all the way up until 11.10pm. Mission: Impossible – The Final Reckoning runs for 2 hours 50 minutes.

Fans were left waiting years for the highly anticipated seventh instalment of the movie to be released – after it was pushed back a number of times due to the Covid pandemic.

It was originally set to be released in 2021, but due to the pandemic, was pushed back to 2022. However, fans were left waiting yet another year when it was pushed back once again to 2023.

The film received two Oscar nominations for Best Sound and Best Achievement in Visual Effects. The movie also won number of awards including a Saturn Award for the Best Action/Adventure Film.

The movie has mixed reviews from fans, although some hail it as the best in the series. Taking to X, formerly known as Twitter, one fan penned: “I’ve watched all of them and mission impossible dead reckoning part 1 is the best film in the series,” as another agreed: “MI Dead Reckoning (Part 1) gets my vote for the best of the Mission Impossible Films.”

However, others weren’t so impressed with the movie, as one penned: “Dead Reckoning Part 1 was a huge step back. Worst since MI:2,” as another disappointed fan penned: Dead reckoning part 1 is… Ok you know what, I’m calling it, while the 7th film is a good action film, it is the worst mission impossible film.”

Earlier this week, the Hollywood star made headlines after he was asked an awkward question about Father’s Day on the red carpet after being estranged from his daughter Suri.

“Father’s Day is just around the corner,” an E! News reporter told the star. She then followed up by asking: “What would an ideal Father’s Day look like for you?”

Visibly taken aback, the Hollywood star looked to the side as he said: “You know…” After a pause, he then continued: “Just having fun, man. Making movies, big adventure, having a great time,” before the interview came to a close.

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CANNES, France — Tom Cruise’s Ethan Hunt arrived in France in 1996’s “Mission: Impossible” clinging to a high speed train through the Chunnel, pursued and nearly skewered by a helicopter. It was, as the French might say, une entrée dramatique. In 2018’s “Mission: Impossible — Fallout,” he leapt from an airplane to plummet four-and-a-half miles down to the glass roof of Paris’ Grand Palais and now, for the big finale of his franchise, “Mission: Impossible — The Final Reckoning,” he’s come to conquer the Cannes Film Festival.

One boisterous fan outside the premiere shoved her Chihuahua at Cruise so he could see it was wearing a pink sweatshirt with his face. Another brandished a DVD of 2000’s “Mission: Impossible 2,” arguably the worst entry in the series. Cruise took a photo with her anyway. “Le selfie!” the red-carpet announcer cried.

The series hasn’t been kind to its French actors: Emmanuelle Béart was shot, Jean Reno blown up by exploding chewing gum, Léa Seydoux kicked out of a window at the Burj Khalifa. (Pom Klementieff, whose character’s name is Paris, has survived to co-star in this eighth entry.) Yet, you didn’t have to parler français to glean the excitement on the ground.

This is only Cruise’s third trip to Cannes and it took him nearly half an hour to walk the 60 yards of red carpet, an exhausting amount of waving, even for someone lauded for his cardio. He took care to acknowledge everyone who’d come to cheer, even trotting back down a few steps to make eye contact and thump on his heart for the fans in the corner flank.

In 2022, as part of the lead-up to “Top Gun: Maverick,” the blockbuster that would defibrillate the pandemic box office, Cruise received an honorary Palme d’Or and a salute from eight zipping French jets. During his first visit, for 1992’s “Far and Away,” times were different and he felt free to be outspoken, telling the press that the then-recent Rodney King verdict “sickened me.” Today, he seems to feel the weight of championing the theatrical experience, just as Ethan Hunt is repeatedly forced to shoulder the burden of saving the world. Neither of them truly has the freedom to “choose to accept it.” More than any of his movie star peers, Cruise seems aware that someone has to symbolize an increasingly bygone era of filmmaking, to be this century’s Charlie Chaplin.

The vibe before the screening of “Final Reckoning” was a bit bar mitzvah. The DJ alternated between dance-floor classics — Kool & the Gang, Joan Jett — and remixes of Lalo Schifrin’s pulsating “Mission: Impossible” theme, one by four beatboxers who mimicked police sirens, another classed-up by a live saxophone and violins. This year’s big Cannes fashion headline is that women are no longer allowed to wear “voluminous” frocks on the steps. Nevertheless, Hayley Atwell, who plays Grace, a pickpocket-turned-secret-agent, wore a gown on the daring end of puffy. Red with large flares at her hips and ankles, she resembled the vintage biplane Cruise dangles from in the film. He could have clung onto her elbow for a teaser.

But when the movie started, the mood turned funereal. This farewell to Ethan Hunt begins with a three-decade-spanning montage of Cruise that could double as the intro to his inevitable honorary Oscar. “I want to thank you for a lifetime of unrelenting and devoted service,” Angela Bassett’s President Erika Sloane tells Ethan in the opening minute. Later, she slips him a code with an important date — May 22, 1996 — which also happens be the day the “Mission: Impossible” franchise launched. The whole film is a panegyric: big speeches and weighty moments with very little sense of play. Tonally, it starts with an ending and keeps on ending for the next 2 hours and 49 minutes.

The eight “Mission” films can be cleaved into two groups. The first four made a point of swapping directors and moods and even Ethan’s core identity: Brian De Palma made him a jaundiced naif; John Woo, a hot-blooded flirt; J.J. Abrams, a devoted husband; Brad Bird, a near-mute human cartoon. The last four are all helmed by Christopher McQuarrie (who’s co-written this script with Erik Jendresen) but neither has added much to his personality. We’re told, over and over, that Ethan is a gambler and a rule-breaker — and paradoxically, that he’s the only human worthy of our trust, an odd thing to say about a spy who wears masks of other people’s faces like party hats.

Of all the “Mission: Impossible” films, this is the only one that needs you to remember what happened in the previous entry, 2023’s “Mission: Impossible — Dead Reckoning Part One,” which introduced an all-knowing AI villain called the Entity and its equally unemotional minion Gabriel (Esai Morales) that made a fun foil for Cruise himself, as a sinister duo that values digital trickery over human sweat. Now, the Entity intends to annihilate humanity in four days unless it can be taken offline by a key that accesses a gizmo in the Arctic Sea that connects to a whatsit that Ving Rhames’s weary Luther is attempting to invent from a makeshift hospital bed somewhere in the subway tunnels of London. A grunting Cruise batters a goon while huffing, “You spend! Too much time! On the internet!”

That last film managed to introduce Atwell’s Grace and collect the key while still enjoying a sense of play, like an axle-cracking Fiat chase through Rome and flirtations manifested via close-up magic. Here, the plot weighs everything down. Not just the threat-of-extinction stuff, which includes Bassett’s POTUS debating which American city to blow up as a preemptive gesture, but by its own irritating God’s-eye omniscience that rarely allows the suspense to spool out in the present. The editing is always cutting to the past or the future. There’s flashbacks to things that happened five minutes earlier and flash-forwards to how a stunt could look instead of just getting on with it.

Just as exhausting is how the entire cast trades lines of exposition to explain Ethan’s daredevil feats before he actually does them. There are almost no conversations, only premonitions and plans delivered in bullet-points like a group research project. No one steps on anyone else’s dramatic pauses. They may as well be reciting how to build an IKEA Billy bookcase. I can’t think of anything more thrill-stifling, even with cinematographer Fraser Taggart lighting everybody’s eyeballs to look so shiny that the actors continually appear on the verge of tears. Still, even within those limitations, Simon Pegg is delightful as Hunt’s longtime tech-whiz teammate Benji, as are new and returning ensemble members Tramell Tillman, Lucy Tulugarjuk and Rolf Saxon, the latter of whom plays a throwback character once threatened with manning a radar tower in Alaska — a punishment that did, in fact, come to pass.

But Cruise is reason audiences will, and should, see “Final Reckoning” on a large and loud screen. His Ethan continues to survive things he shouldn’t. (One too-miraculous rescue attempts to distract us from asking questions by inserting an out-of-place close-up of Atwell’s heaving bosom.) Yet, what I’ve most come to appreciate about Ethan is that he doesn’t try to play the unflappable hero. Clinging to the chassis of an airplane with the wind plastering his hair to his forehead and oscillating his gums like bulldog in a convertible, he is, in fact, exceedingly flapped.

The flight chase is fantastic. It’s what Isaac Newton might have made if he’d demonstrated velocity by placing an apple in a bucket and whipping it in circles. But even its exhilaration gets bested by a centerpiece underwater sequence in which Cruise scuba dives alone in silence suffering stunts that you cannot believe. I couldn’t tell you how long he swam — at some point, my heart stopped — but there are images of vertical sheets of water and the star in shivering, fetal isolation that felt like the franchise wasn’t just trying to top itself, but hoping to best “Titanic” and “2001: A Space Odyssey.”

As the sound design rumbled with queasy creaks over shots of a submarine teetering on the edge of a deep-sea cliff, I found myself thinking most of all of that famous sequence of a frozen shack sliding off a cliff in Charlie Chaplin’s 1925 “The Gold Rush,” which celebrates its centennial anniversary this fall. By coincidence or grand design, a gorgeously restored “The Gold Rush” was also the first movie screened at this year’s Cannes. If there’s a Cannes in 2125, maybe it’ll play a 100-year-old Tom Cruise classic. It won’t be this “Mission: Impossible” over the first, third or fourth. Regardless, I bet the fans will still be cheering.