inspired

AS the car turned, there it was – a towering island next to an isolated and ruined castle, emerging from the water – it truly was a real-life Neverland.

Located in the Inner Hebrides in Scotland is a tiny island with a population of just nine people.

Known as Eilean Shona, this tidal island is completely car-free and was the inspiration behind J.M Barrie’s creation of Neverland in Peter Pan.

As my boat approached the shores of the island, it was obvious why.

Towering green trees and serene still waters were both welcoming and peaceful.

Once I reached the island, the soft soil, earthy smells, chimes of birds and light breaking through the trees made it feel magical.

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The island is littered with a number of houses and cabins for visitors to stay in – for my stay, I was in the main manor house.

Stepping inside, I found myself in a Traitors-like castle, decked out with tartan features, roaring fireplaces and cosy corners with well-read books.

The feeling of being somewhere else continued when I found my room – a plush bed stood proud in the centre, and old-style windows looked out onto fresh green grass just as if I was in my own magical bubble.

The main house sleeps up to 18 people and inside has a number of spaces including nine bedrooms, six bathrooms, a dining room, library with a full-size billiards table, a drawing room, and a large kitchen.

Guests can either book the house as catered or self-catered, and for prices, you will need to contact the island (though split between 18 people it wouldn’t work out too expensive per night).

Whilst there isn’t much to do on the island, it is the perfect retreat away from the modern world and the stresses of day to day life.

Thanks to there being no shops, no restaurants and patchy phone signal, it really helps you disconnect from your mobile (and consequently social media).

This particularly hit me when I ran a bath, and the water ran yellow-brown.

Initially, I was disgusted, thinking it was dirt, and reached for my phone to do a quick Google search.

But I stopped myself.

Instead, I embraced it and later asked one of my hosts why it was that colour.

Turns out the water is in fact so clean – cleaner than most places in the UK – and the colour comes from the peat found in the surrounding landscape.

I was told it is perfectly safe to drink and bathe in, and in fact carries minerals that are good for you.

One of the activities to do on the island that is well worth experiencing, though, is taking a cold water plunge or swim – the scenery is stunning and the water is serenely calm.

Heading off the pier, I floated for a few minutes in the water, taking in the smell of the fresh, earthy air and noting the silence around me.

For those who aren’t too fond of a cold dip or want to warm up quickly afterwards, there is also a sauna near the water’s edge.

During the evening, I headed to the Village Hall, which is the island’s social hub.

Here you can enjoy a weekly pub night, table tennis, wildlife books and board games.

After enjoying my dinner, I snuggled up to the fire cocktail made from a Sapling Spirits – a climate-positive vodka brand that first started on the island.

For each bottle sold, the brand plants a tree, something I even got to do with my own tree sapling – perhaps it will be used by the Lost Boys to find their way home.

Obviously, the island has an endless amount of walks you can take, and a couple of mine included heading to the summit and to the opposite side of the island where I found Shoe Bay, with a white sand beach and crystal clear waters.

For guests who want to venture around the island’s shores, there are kayaks, canoes and paddleboards available for hire.

And whilst exploring the island, make sure to keep an eye out for wildlife as birds of prey often circle overhead.

In less than 24 hours I had completely fallen in love with the island.

It really did feel like Neverland for adults wanting to escape the modern world and I cannot wait to go back.

There are a few ways to get to the island, including via the Caledonian Sleeper to Fort William.

From there, Eilean Shona is about an hour’s drive or in a taxi.

Alternatively, you could fly to Glasgow Airport, then hire a car and make the three-hour trip to Eilean Shona.

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There are plenty of people speculating how one of the most popular baby names for those born this year and in 2026 in the United States and Japan will be Shohei after what Shohei Ohtani accomplished in Game 4 of the National League Championship Series, hitting three home runs and striking out 10 in the Dodgers’ clinching win over the Milwaukee Brewers.

What’s also clear is how much inspiration Ohtani is providing for high school baseball players who want to hit and pitch like him.

“It’s pretty crazy to do, especially as the leadoff hitter, to strike out three, then hit a home run. He doesn’t have time to regroup,” Huntington Beach junior pitcher/outfielder Jared Grindlinger said. “It’s definitely inspiring to know it’s possible to do both at the next level. I hope other kids become two-way players.”

Grindlinger might be the best two-way player in the Southland next spring. He throws fastballs in the 90s and has lots of power as one of the best players from the class of 2027. He said he has studied Ohtani’s experiences.

“He goes through struggles,” he said. “It’s not like he goes 20 for 20. It’s good to know you’re going to fail and bounce back and it’s going to be all right.”

Joshua Pearlstein, an All-City outfielder and pitcher at Cleveland, said he was in awe watching Ohtani’s performance on television.

“It’s inspiring to me,” he said. “I was in shock. It was pretty cool to see him do everything at the same time. I think the biggest challenge is working on both at practice. It’s a challenge but I’m up for that challenge.”

Pearlstein said he studied when Ohtani was in high school in Japan, how “he was putting in the work every day. It inspires me to work at home to achieve the same goals he has reached.”

Another two-way player is Birmingham sophomore pitcher/shortstop Carlos Acuna, a diehard Dodgers fan.

Sophomore pitcher Carlos Acuna of Birmingham is also a hitter.

(Craig Weston)

“It’s awesome,” Acuna said. “That’s who I want to be like as a pitcher and hitter.”

Coaches have to be careful with two-way players because you don’t want to place too much of a burden on them at practices, something that might lessen or affect one of their skills.

Dodgers first baseman Freddie Freeman told The Times: “When you’re getting older and older, you kind of veer toward one avenue. I do think you’re starting to see more at the college level and potentially letting guys [do both] because of Shohei , which is really cool because he’s changing the game. I don’t know if you’re going to see another person. Most people don’t see what Shohei is doing in between and underneath. He’s two different people and has to do it day in and day out.”

Grindlinger agrees practices are where a balancing act takes place.

“I get to do my pitching stuff first, then my hitting stuff afterward,” Grindlinger said. “Or my dad will throw to me afterward. You have to plan around it. Sometimes I can’t do heavy lifting because I have a bullpen day. It’s definitely a challenge but a fun one.”

A BEAUTIFUL underground train station in London could be mistaken for somewhere in Moscow.

From the outside, Gants Hill looks like nothing special, being on a roundabout in Zone 4.

However, the interiors were designed by modernist Charles Holden, known for creating most of the London Underground system.

Originally starting works in the 1930s, Gants Hill station wasn’t able to open until 1947 due to delays caused by WWII.

During this time, it was even used as an air raid shelter during the war.

It was inspired by the Moscow Metro system, after Holden returned from the Russian city having been there as a consultant.

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The barrel vault ceilings are similar to Elektrozavodskaya metro station in Moscow.

The central concourse even has the nickname “Moscow Hall”.

Joshua Abbott, author of the Modernism in Metroland blog, told local media that the underground “should be listed.”

He added: “It is unique among Holden’s stations due to the Moscow Metro influenced platform design and lack of surface buildings.

“Gants Hill should be very proud of its most secret building.”

Some commuters have raved about it as well.

One wrote: “For an underground station Gants Hill has amazing interior architecture.

“Definitely, a place to visit if you’re into building structures and design.”

If you want to visit it yourself, you can easily hop on the Central Line from London, with the line ending in Essex.

Another unusual metro station was Marlborough Road in North London on the Metropolitan line.

It opened in 1868 before closing in 1939 and later even becoming a Chinese restaurant where the “chopsticks rattled because of the trains”.

And earlier this year, the London Underground ran vintage 1930s trains – here’s everything you need to know.

Welcome to Screen Gab, the newsletter for everyone who spent the week Googling Ed Gein.

“Monster,” the gruesome and graphic anthology series from longtime collaborators Ryan Murphy and Ian Brennan, has dramatized the chilling story of serial killer Jeffrey Dahmer and the highly publicized and complex case of Lyle and Erik Menendez, brothers who were convicted for the 1989 murder of their parents. The third installment of the Netflix series, which was released last week, puts its twist on the legend of Gein, a killer who inspired fictional villains like Norman Bates and Leatherface. Brennan, who wrote the season, stopped by Guest Spot to discuss the fantastical approach to the season and that “Mindhunter” hat tip.

Also in this week’s Screen Gab, our streaming recommendations include a “Frontline” documentary that continues its chronicle on the lingering impact of poverty and a spinoff of “The Boys” set at America’s only college for superheroes.

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(Brian Lutz / For The Times)

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Turn on

Recommendations from the film and TV experts at The Times

A still from “Frontline: Born Poor,” which filmed over 14 years with kids from three families, from adolescents to adults, to explore how poverty has affected them.

(Frontline PBS)

“Frontline: Born Poor” (PBS.org)

Television is glutted with “reality,” but there are still filmmakers who prefer to look at how people live when they’re not contestants in a dating game or bunked up with competitive strangers. Jezza Neumann’s “Born Poor” is the third installment in a moving documentary series that began 14 years ago with “Poor Kids,” and, like Michael Apted’s “7 Up” films, has visited its subjects in intervals over the years since. Set in the Quad Cities area, where Illinois meets Iowa along the Mississippi River, it follows Brittany, Johnny and Kayli from bright-eyed childhood into chastened, though still optimistic adulthood, as they deal with life on the margins — power lost, houses lost, school impossible, food unpredictable. Now, with kids of their own, all are concerned to provide them a better life than the ones they had. With Washington waging a war on the poor to protect the rich, it’s a valuable watch. — Robert Lloyd

Derek Luh (Jordan Li), from left, Jaz Sinclair (Marie Moreau), Keeya King (Annabeth Moreau), Lizze Broadway (Emma Meyer) in “Gen V.”

(Jasper Savage / Prime)

“Gen V” (Prime Video)

Just two weeks out from its Season 2 finale and the satirical superhero series continues to deliver merciless dark humor and sharp topical commentary on America’s great crumble — inside of a tale about misfits enduring the rigors of college life.

Spun off from the brilliant “The Boys” franchise, this series from Eric Kripke, Craig Rosenberg and Evan Goldberg follows a group of students at Godolkin University, an institution designed to identify and train the next generation of superheroes. But the co-eds soon discover that their supposed higher education is in fact a clandestine operation to create “Supe” soldiers for an impending war between the super-powered and non-powered humans. Returning to the fold is Marie Moreau (Jaz Sinclair), who emerges as the rebel group’s most powerful weapon against the school’s nefarious plot. Working alongside her are Emma (Lizze Broadway), Cate (Maddie Phillips), Jordan (London Thor and Derek Luh) and Sam (Asa Germann). The wonderfully unnerving Hamish Linklater (“Midnight Mass”) joins the cast as the school’s new dean.

Is “Gen V” just as gory as “The Boys”? Absolutely. Watch with caution. But nothing else is quite as fearless in calling out the contradictions and absurdities of our times, be it corrupt politics, corporate domination or false religiosity. — Lorraine Ali

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Charlie Hunnam as Ed Gein in an episode of “Monster: The Ed Gein Story.”

(Netflix)

“Monster: The Ed Gein Story” stars Charlie Hunnam as the so-called “Butcher of Plainfield,” whose gruesome crimes in 1950s small-town Wisconsin went on to inspire pop culture classics like “Psycho” and “The Texas Chain Saw Massacre.” The season leans into Gein’s diagnosed schizophrenia and his legacy in Hollywood to present a deeply fictionalized version of his horrifying activities. All eight episodes of the season are now streaming. Ian Brennan, who co-created the anthology series with Ryan Murphy and helmed the latest installment, stopped by Guest Spot to discuss the season’s approach to fact vs. fiction, that “Mindhunter” nod and the documentary that earns his rewatch time. — Yvonne Villarreal

We often hear from actors about the roles that stay with them long after they’re done filming. Are there elements of “Monster: The Ed Gein Story” that you still can’t shake?

Ed Gein was schizophrenic, and I find the internal life he would have suffered through for decades — alone and hearing voices, primarily that of his dead mother — completely harrowing. He wasn’t medicated until late in his life, and until he was, his mind was a hall of mirrors of images he saw and couldn’t unsee — most shockingly photos of Nazi atrocities during the Holocaust. I believe the only way he could cope was to try to normalize these things — digging up bodies, skinning them, making things from them — and the nagging voice of his mother ultimately drove him to murder at least two women, Mary Hogan and Bernice Worden, maybe more. Ed Gein wasn’t the local boogeyman — his neighbors didn’t find him scary — he was the guy you’d have watch your kids if the babysitter canceled last-minute. And yet, in those four inches between his ears there existed a bizarre, terrifying hellscape of profound loneliness and total confusion. Every day in this country we see what happens when the lethal combination of male loneliness and mental illness goes ignored. The thought of an Ed Gein living just down the street from me is chilling.

“Based on a true story” depictions typically have a loose relationship with the truth due to storytelling needs. This season of “Monster” bakes that idea into the narrative — whether because of Ed’s understanding of events or the way in which he, or his crimes, inspired deeply fictionalized villains like Norman Bates (“Psycho”), Leatherface (“The Texas Chain Saw Massacre”) and Buffalo Bill (“The Silence of the Lambs”) — in trying to unpack the “Who is the monster?” question. What questions were swirling in your head as you tried to weave this story together? And how did that inform where and how you took your liberties?

Ed’s story is, in many ways, fragmented — he didn’t remember many details of the acts he committed, and he passed polygraph tests when interrogated about cold cases police suspected he may have perpetrated. So we knew from the very beginning that there would be gaps to fill in when telling his story — and it seemed the obvious way to do it was to let the true story interplay with the fictionalized versions of Ed Gein that he inspired. There’s a subtle thematic bleed between the versions of Ed we see in the series and the monsters in the movies he inspired — in the first three episodes, we see a “Psycho”-inflected Ed Gein obsessed with his mother; next a much more sexualized, violent Ed Gein that would become “Leatherface”; then an Ed Gein who so fetishized the female body and who was made so ill by the repression of that urge that he became obsessed with building a suit made from women’s bodies. These versions of Ed, to me, are like the blind men feeling different parts of the elephant in the parable — each true in their own way, but each also just a fragment of a shattered whole that will probably never be fully understood.

The season finale features a “Mindhunter” nod. Happy Anderson, who played serial killer Jerry Brudos on that show, reprises his role as the Shoe Fetish Slayer, talking to characters meant to be Holden Ford and Bill Tench, though they’re named John Douglas and Robert Ressler, the real FBI agents who inspired the fictional ones. When and why did you realize you wanted to have that hat tip? Was there an attempt to try to get Jonathan Groff or Holt McCallany?

Having written three seasons of this anthology so far, we’ve realized each time that the emotional climax always comes in the penultimate episode and the finales are always particularly difficult to figure out. We knew we needed to top the episodes that had preceded it by shifting the show’s look and tone — and we had in our hands the nugget that John Douglas and Robert Ressler had, indeed, interviewed Ed Gein in person. Ryan and I both find David Fincher’s oeuvre almost uniquely inspiring, so once we pictured an episode that played as an homage to Fincher’s tone and style and narrative approach, it was something I, at least, just couldn’t unsee. If we were going to go down the rabbit hole of what this chapter of Ed’s story might have looked like, I could only really picture it in Fincher’s terms — so your guess is as good as mine as to why casting the “Mindhunter” pair of Jonathan Groff and Holt McCallany in the roles didn’t feel right (we both love both of those actors), but it just didn’t.

There are so many dark moments for the actors. What scene struck you as especially difficult to write and shoot?

I was at once excited and terrified by the challenge of depicting necrophilia on our show. I’m fairly certain it’s never been done before on TV, and I knew it ran the risk of seeming arbitrarily shocking or exploitative (though I think choosing to tell Ed’s story in an easier manner by avoiding this chapter and not showing it would be the actually exploitative choice). Needless to say, even after I’d written the scene, it preoccupied me, as I had to also direct it. I felt greatly helped by the new industry standard of intimacy coordinators on set — and ours, Katie Groves, was spectacular — but still I worried about the scene just playing as cringey or unwatchable. But Charlie Hunnam, as with every scene he acted in on the show, came at the sequence with honesty and deep concern to capture all of the strangeness of the bizarre, disturbing act we were depicting — and what it said about what was going on inside Ed to lead him to commit such an act.

What have you watched recently that you are recommending to everyone you know?

I just saw PT Anderson’s “One Battle After Another” — which was shot by one of our two directors of photography, Michael Bauman — and was just completely floored and delighted. I’m sure it’s rife with homage to films that have gone before, but I could detect no inheritance at all; it felt like a genre to itself — completely original and new. And I still find the time I watched Jonathan Glazer’s “Zone of Interest” to be among the most profound experiences of my life. He took what is maybe cinema’s most settled, well-trodden genres and turned it on its head in a way I found shocking and revelatory. If there is a better portrait of the proximity and ubiquity and the banality of human evil, I haven’t seen it. I think it is as brilliant a slice of human ingenuity as has ever been crafted. I have thought about that movie every day since I first saw it.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

It’s annoying to say it, but I don’t watch a lot of television. It’s like spending all day at the sausage factory then coming home to watch sausage footage. But the big exception is Peter Jackson’s Beatles documentary “Get Back” [Disney+] chronicling the making of the film and album “Let it Be.” I basically just watch it over and over again. I came late to the Beatles (I loved the Who and resented that they always sat squarely in the Beatles’ shadow), but when they hit me, they hit me hard, and watching them in this documentary at the height of their powers is a master class in the craft of collaboration and the hard work of genius. Also, everything I thought I knew about the Beatles at the end of their stretch as a band is wrong — fighting all the time? A bit but not really. Paul hated Yoko? He actually seems to really like her. I don’t know how many hours the documentary clocks in at, but I wish it were 10 times as long.

Deaves picked up from where he left off last season, impressing in Ospreys’ opening round defeat to Bulls in the United Rugby Championship (URC).

And Jones believes that continued good form has put him in Wales contention.

“I’d be surprised if he [Deaves] is not in the international conversation right now,” said Jones.

“If you look at his post-contact metres, he’s the highest in our squad. He beats defenders and wins collisions in his own way, not just with brute force.

“He’s got a good skillset and is super aggressive. They’re all the traits you associate with an international player.”

Deaves, who still coaches at his hometown club of Pontyclun, said a Wales call would be reward for defying the odds during his early career.

“I was a late developer and playing in a tough position, always being called too small and stuff like that,” said 5ft 11in (1.80m) Deaves.

“The size of my heart had to take over sometimes and I’d like to say that still carries on now.

“It’s about making my village proud, I love representing my village and giving back to my family. [But] I just need to focus on where I am right now.”

Haru Urara, the mare who won over horse racing enthusiasts in Japan and abroad with her perpetual losing streak, has died. She was 29.

Yuko Miyahara, a representative for Urara’s longtime care facility Matha Farm in the southeast Chiba prefecture of Japan, confirmed to Japanese outlet Friday Digital that the animal athlete died early Tuesday of colic. She was surrounded by staff.

“Urara was 29. In human years that’s almost 90, but really, until yesterday she was doing really well,” Miyahara said in the article, which was translated to English. “It was so sudden … lately Uhara was getting visitors even from outside Japan. It’s really unfortunate.”

The horse, whose name translates to Glorious Spring, debuted in 1998 at the Kochi Racecourse. The track advertised its resilient star’s losing streak as part of its efforts to stay in business. Urara’s reputation — bolstered by her signature pink racing accessories and fan merchandise — breached the perimeters of the Kochi racetrack and made her a global phenomenon. In 2004 former Japanese Prime Minister Junichiro Koizumi even expressed his support for the mare.

“I’d like to see Haru Urara win, even just once,” Koizumi said. “The horse is a good example of not giving up in the face of defeat.”

Trained by her longtime trainer Dai Muneishi, Urara kept racing — she lost a total of 113 races and finished second in only four of those — until her retirement in August 2004. Her owner at the time parted ways with the Kochi racetrack and Urara disappeared for several years after her retirement. Since 2014 she had been receiving care at Matha Farms.

Her career and unexpected global fame were the subject of the 2016 ESPN documentary “The Shining Star for Losers Everywhere.”

“At the time, Haru Urara must have been a star of hope for the losers,” trainer Muneishi said in the documentary.

Interest in Urara’s legacy of losing and resilience reignited earlier this year with the global release of the mobile game “Uma Musume: Pretty Derby” in June. “Uma Musume,” initially released in Japan in 2021, is a racing simulator that re-imagines real-life racehorses as anime horsegirls. Players are “trainers” who support racers, leveling them up to climb the ranks. In the video game, Haru Urara is a horsegirl whose features are various shades of pink. Her character is also featured in the “Uma Musume: Pretty Derby” anime series.

The game’s official X (formerly Twitter) account shared the news of the racehorse’s death “with heavy hearts” and mourned the “legendary” athlete.

“We share our condolences to all the staff involved in Haru Urara’s care,” the post said.

Times staff writer Tracy Brown contributed to this report.

DRIVERS of SUVs in England may soon face more stringent parking rules under a law inspired by the European Union.

Earlier this year, reports revealed that SUVs have become the most popular type of car in the UK – with sales data showing they accounted for a third of all new car registrations.

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Given their growing presence on UK roads, many believe stricter regulations are needed to address their impact on safety, air pollution and public space.

According to Birmingham Live, experts and campaigners are calling for measures similar to those introduced in European cities, such as Paris, where parking costs for SUVs have been significantly increased to discourage their use and reduce pollution.

An hour of parking for SUVs in the Paris city centre now costs €18 instead of the usual €6, whilst in the outskirts the cost is €12 instead of €4.

For six hours, SUVs will be charged a whopping €225 – around £195 – instead of the previous €75.

French newspaper Le Parisien reported that the new parking rates for larger vehicles in Paris had reduced the number of SUVs using surface parking by two-thirds.

The French cities of Lyon and Grenoble have similar rules, as does Tubingen in Germany.

Dr Anna Goodman, an academic transport researcher and director of Transport for Quality of Life, said: “SUVs increasingly dominate our streets. In just two decades, the share of SUVs in English cities has grown tenfold.

“In London alone, the number of SUVs has swelled by around 720,000. This has important implications for congestion, public space, and road safety.

“The evidence is clear that SUVs increase road danger for people walking and cycling, particularly for children.”

Oliver Lord, UK Head of Clean Cities, added: “The sheer scale of car-spreading is staggering.

“These oversized vehicles are not just swallowing our public space; they’re also far more dangerous, especially for children.

“If we want cities that are safe, breathable, and accessible, we have to get serious about tackling the rise of these urban land-hogs.”

SUVs are often criticised for their size, higher fronts and reduced visibility from the driver’s seat, making them more dangerous for pedestrians and cyclists.

They are also blamed for contributing to air pollution and climate breakdown due to their heavier, more polluting nature.

The UK’s current best-selling cars, the Ford Puma, Kia Sportage and Nissan Qashqai are all classed as crossover SUVs.

But even bigger are the likes of the Range Rover, Skoda Kodiaq and BMW X5.

Barbara Stoll, senior director of T&E’s Clean Cities campaign, added: “A child is killed every day on our roads, yet cars are being made so large that children are invisible from the driver’s seat. How is that acceptable?”

“Thankfully, more and more city leaders are pushing back against car-spreading, standing up for what citizens actually want: safe, green streets without monster vehicles.”

A BUNDESLIGA club unveiled its stunning new-look tunnel ahead of their clash with champions Bayern Munich last month.

FC Augsburg have been renovating their tunnel for the last few months as part of a desperately-needed refurb.

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And the new-look tunnel players will walk out of going forward is truly a sight to behold.

The club has paid tribute to its Roman roots with a tunnel inspired by the city’s ancient amphitheatres.

The gates to the tunnel have drawn inspiration from amphitheatres in the Eternal City and Verona and features several aspects of the club’s badge.

Its walls have been stunningly designed to appear as if they’ve been covered in ancient Roman stones and have been laid out in a pattern befitting the time period.

The stones are beautifully highlighted by accent lights and an illuminated club badge.

A beautiful mosaic pattern comprised of Italian stones makes up the midway point of the tunnel, which the club proudly showed off on social media.

Augsburg CEO Michael Stroll said of the revamp: “We’ve long spoken about our desire to modernise our players’ tunnel.

“Our previous tunnel was functional, but didn’t really catch the eye.

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“The results of the renovation are impressive.

“Our new players’ tunnel features a stylish, detailed design and is a perfect fit for our club.

“There’s no doubt in our minds that we now have one of the best-looking players’ tunnels in the Bundesliga.”

St Pauli will be the next away team to have the Roman tunnel experience when they travel the WWK Arena a week on Sunday.

The beautiful village that has been frozen in time, with tourists saying it’s like stepping into another era

Haworth has remained untouched by time as visitors claim it’s “like stepping into another era”. This charming village sits tucked away in the stunning Yorkshire countryside, formerly the residence of the renowned Brontë sisters, with the nearby moor inspiring Wuthering Heights.

The siblings’ old family residence has been transformed into a museum, drawing literary enthusiasts from far and wide. The village has certainly earned its reputation, with independent bookstore Wave of Nostalgia being crowned the finest in all of northern England by The Bookseller.

Boasting its cobbled Main Street, famous parsonage and sweeping moorland, this Airedale settlement retains numerous historical features that remain completely preserved, reports the Express.

Positioned adjacent to the Yorkshire Dales, it enjoys spectacular rural landscapes and undulating hillsides.

Visitors to the museum can glimpse a precious miniature manuscript penned by Charlotte Brontë, which dates back to December 1829.

Leeds lies just a brief journey away, providing a completely contrasting atmosphere to the tranquil village whilst delivering abundant retail and dining opportunities.

The ancient city of York also sits nearby, displaying its famous cobblestone lanes and classic English design.

Though Haworth itself remains compact, the settlement boasts a legendary Main Street lined with numerous independent retailers and coffee houses.

Mrs Beighton’s Sweet Shop is reportedly essential viewing, stocking more than 500 classic British confections to sample.

Haworth Wholefoods provides an unusual grocery experience for weekly shopping, featuring regional produce and organic fare. H and L Fashions, a quaint boutique specialising in French and Italian designs, caters to both men and women, keeping the vintage theme alive.

The Cabinet of Curiosities offers a museum-like shopping experience, with its rich mahogany interior and glass globes transporting customers back in time.

For those keen on exploring Yorkshire, Haworth provides self-catering accommodation options, as well as cosy B&Bs.

A late Tennessee sheriff who inspired “Walking Tall,” a Hollywood movie about a law enforcement officer who took on organized crime, killed his wife in 1967 and led people to believe she was murdered by his enemies, authorities said last week.

Authorities acknowledged that the finding will probably shock many who grew up as Buford Pusser fans after watching “Walking Tall,” which immortalized him as a tough but fair sheriff with zero tolerance for crime. The 1973 movie was remade in 2004, and many officers joined law enforcement because of his story, according to Mark Davidson, the district attorney for Tennessee’s 25th Judicial District.

There is enough evidence that if Pusser, a McNairy County sheriff who died in a car crash seven years after his wife’s death, were alive today, prosecutors would present an indictment to a grand jury for the killing of Pauline Mullins Pusser, Davidson said. Investigators also uncovered signs that she suffered from domestic violence, he said.

Prosecutors worked with the Tennessee Bureau of Investigation, which began reexamining decades-old files on Pauline’s death in 2022 as part of its regular review of cold cases, agency director David Rausch said. Agents found inconsistencies between Buford Pusser’s version of events and the physical evidence, received a tip about a potential murder weapon and exhumed Pauline’s body for an autopsy.

“This case is not about tearing down a legend. It is about giving dignity and closure to Pauline and her family and ensuring that the truth is not buried with time,” Davidson said in a news conference streamed online. “The truth matters. Justice matters. Even 58 years later. Pauline deserves both.”

Evidence does not back up sheriff’s story

The case dates to Aug. 12, 1967. Buford Pusser got a call in the early-morning hours about a disturbance. He reported that his wife volunteered to ride along with him as he responded. The sheriff said that shortly after they passed New Hope Methodist Church, a car pulled up and fired several times into the vehicle, killing Pauline and injuring him. He spent 18 days in the hospital and required several surgeries to recover. The case was built largely on his own statement and closed quickly, Rausch said.

During the reexamination of the case, Dr. Michael Revelle, an emergency medicine physical and medical examiner, studied postmortem photographs, crime scene photographs, notes made by the medical examiner at the time and Buford Pusser’s statements. He concluded that Pauline was more likely than not shot outside the car and then placed inside it.

He found that cranial trauma suffered by Pauline didn’t match crime scene photographs of the car’s interior. Blood spatter on the hood outside the car contradicted Buford Pusser’s statements. The gunshot wound on his cheek was in fact a close-contact wound and not one fired from long range, as she sheriff had described, and was probably self-inflicted, Revelle concluded.

Pauline’s autopsy revealed she had a broken nose that had healed before her death. Davidson said statements from people who were around at the time she died support the conclusion that she was a victim of domestic violence.

Brother says investigation gave him closure

Pauline’s younger brother, Griffon Mullins, said the investigation gave him closure. He said in a recorded video played at the news conference that their other sister died without knowing what happened to Pauline, and he is grateful he will die knowing.

“You would fall in love with her because she was a people person. And of course, my family would always go to Pauline if they had an issue or they needed some advice, and she was always there for them,” he said. “She was just a sweet person. I loved her with all my heart.”

Mullins said he knew there was some trouble in Pauline’s marriage, but she wasn’t one to talk about her problems. For that reason, Mullins said, he was “not totally shocked” to learn of the investigators’ findings.

Asked about the murder weapon and whether it matched autopsy findings, Rausch recommended reading the case file for specifics.

The Tennessee Bureau of Investigation plans to make the entire file, which exceeds 1,000 pages, available to the public by handing it over to the University of Tennessee at Martin once it finishes with redactions. The school will create an online, searchable database for the case. Until then, members of the public can make appointments to review it in person or can purchase a copy, said university Chancellor Yancy Freeman Sr.

McAvoy writes for the Associated Press.

These two picturesque villages in France could be straight out of a Disney animation. But, despite their distinct charm and proximity to a popular tourist spot, they remain relatively under the radar.

Two picture-perfect cities rumoured to be inspiration for Disney settings have been revealed – but they won’t stay under-the-radar for long. If you’re keen to avoid overcrowded tourist hotspots, a trip to one of these picturesque destinations should be the next stop on your travel itinerary.

French River cruise operator European Waterways has revealed two lesser-known destinations that supposedly inspired Disney animation. Located 20 minutes from the tourist hotspot Colmar, both Eguisheim and Riquewihr are worth exploring.

Located in the wine-making region of Alsace, both destinations are members of Les Plus Beaux Villages de France – or The Most Beautiful Villages in France. Formed in 1982, Les Plus Beaux Villages de France is an independent body that promotes must-visit rural locations. As of 2024, it numbers 176 member villages. This comes after a warning to Brit tourists planning all-inclusive holidays to Spain.

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Maryanne Sparkes, French Rivercruise expert at European Waterways, explains their distinct charm. “Eguisheim’s secret lies in its unique layout — concentric circles of narrow lanes surround a central château, each lined with meticulously preserved half-timbered houses.

“This design, dating back to the 13th century, is rare in Europe and creates a magical village atmosphere, amplified by vibrant window boxes bursting with blooms in spring and summer,” she explains.

The village also institutes regulations to ensure the preservation of its distinct layout. According to Maryanne: “Local laws strictly protect the village’s architectural heritage, meaning no building facade can be changed without official permission.

“This careful preservation maintains Eguisheim’s medieval character, which helped it win the title of “France’s favourite village” in 2013.” Similar to Eguisheim, Riquewihr is “frozen in time” to preserve its atmosphere and architecture.

Maryanne explains: “A slightly different, but equally beautiful Riquewihr is a medieval fortress frozen in time by local experts. Only five kilometres from Eguisheim, Riquewihr charms visitors with its intact defensive walls, cobbled alleys, and medieval watchtowers.”

She says that Riquewihr’s houses — some dating as far back as the 16th century — are notable for their traditional painted wooden facades decorated with geometric patterns and floral motifs. Walking through its narrow streets feels like “entering a living museum” and is particularly magical during Christmas time when fairy lights adorn the walls.

Maryanne says that despite Riquewihr and Eguisheim’s proximity to the popular destination of Colmar, both towns remain “delightfully undervisited”.

“They provide the perfect alternative for travellers wanting fairytale charm without the crowds, plus easy access to world-class Alsace wines and local gastronomy,” she says.

Colmar has achieved notoriety on social media for its pastel-hued traditional homes and picture-perfect canals. With its relatively small population of 67,000, Colmar maintains a “country town” vibe, drawing visitors into its quaint atmosphere amplified by centuries of dedicated preservation.

Disney fans might even mistake Colmar for Belle’s hometown from Disney’s Beauty and the Beast. The area’s distinctive architecture, including timber-clad homes, supposedly served as the direct inspiration for the movie’s fictional setting in Alsace.

It’s another dry, sweltering morning in Las Vegas, and the guitarist Zoltan Bathory has just left his Gothic castle. Bearded and dressed in black, with a bundle of dreadlocks piled high on his head, he’s now piloting a small boat across a man-made lake filled with tap water, on his way to breakfast at a nearby café.

The newly renovated replica castle is a recent project and perk of Bathory’s 20-year career as guitarist and founder of the multiplatinum heavy metal band Five Finger Death Punch. But last year, as the metal act began planning to celebrate those two decades of action, Bathory discovered that their longtime former label, Prospect Park, had quietly sold the masters to the first seven 5FDP albums.

The group, which retained 50% ownership in the masters but not “administrative rights,” was not informed before the sale.

“We were not privy to the deal. It was completely behind curtains. That’s the annoying part of this,” says Bathory. “I wish they had a conversation because we could have done a deal together, or maybe we would have bought it. We didn’t even get an option. We found out from somebody else. Well, wait a minute, what’s going on?”

With that anniversary coming up in 2025, 5FDP adjusted after finding inspiration in the example of pop superstar Taylor Swift, who responded to the sale of her catalog with a hugely successful series of “Taylor’s Version” rerecordings of entire albums. Swift re-created four of her records, each one topping the Billboard Top 200, before she finally bought back the rights to her catalog this year.

Five Finger Death Punch decided to follow that lead, and in January began rerecording the band’s most popular songs. The first batch of new recordings arrived under the title “20 Years of Five Finger Death Punch — Best of Volume 1,” released Friday, to be followed by “Best of Volume 2” later this year.

“When this happened, it came up immediately: ‘Well, this happened to Taylor and what did she do?’” Bathory says of the plan. “She battle-tested it. And she’s a big artist. ‘OK, that’s your move? Now this is our move.’”

It is just the latest chapter in a sometimes turbulent career for the musicians, as the band rose to become one of the most successful hard rock/metal bands of their generation, boasting 12 billion streams, surpassed only by Metallica and AC/DC. During its first decade, 5FDP released four platinum-selling albums in the U.S., beginning with its second release, 2009’s explosive “War Is the Answer.”

The unexpected sale of their masters — to the independent music publisher Spirit Music Group — was perhaps the final round in a frequently contentious relationship with Prospect Park founder Jeff Kwatinetz. In 2016, the label sued Five Finger Death Punch in Los Angeles Superior Court, alleging breach of contract over a coming greatest hits package and the recording of a new album.

That lawsuit got ugly, including an accusation in its initial filing that the band was “attempting to cash in before the anticipated downfall of their addicted bandmate,” a blunt reference to singer Ivan L. Moody’s period of self-destruction at the time. The band countersued. The cases were settled out of court the following year.

A request for comment sent to Kwatinetz through his attorney was not returned by press time, but he told Billboard last month that the band’s current management stopped cooperating, so “I sold my half.”

As he settles into the small lakeside café over a glass of organic matcha tea and avocado toast, Bathory expresses little real anger over the suits and the sale, and looks back cheerfully at the band’s long relationship with the label. The guitarist says he actually enjoyed their heated discussions, reflecting not only their conflicts of the moment, but a shared history as the band rose from clubs on the Sunset Strip to stadiums around the world.

“With our former label president, this is probably the funniest relationship. In the past, we were suing each other for various [issues],” Bathory says with a smile. “We get on the phone, and we’re talking about a lawsuit, and he’s like, ‘You guys lost this injunction.’ And I’m like, ‘Oh, f— you.’ ‘Oh, f— you!’ We had this back and forth, and then it’s ‘How’s the kids?’ And then we just talk about albums and music and whatnot for like an hour.

“And then, ‘OK, see you in court.’ ‘F— you,’” he adds with a laugh. “It’s a game of life. And I believe in the way of the samurai. The saddest day in the samurai’s life is when your worst opponent dies, because that’s the guy who kept you on your toes.”

Sessions for the new recordings unfolded quickly from 5FDP’s current lineup that also includes baseball bat-wielding singer Moody, longtime bassist Chris Kael, and two newer members, drummer Charlie Engen and lead guitarist Andy James.

The musicians recorded their parts separately, re-creating songs some of them had by now performed live nearly 1,000 times around the world. The resulting tracks are not exact replicas of the originals, but are faithful to their spirit while leaving room for the natural evolution that happens through years of touring.

The result on “Best of Volume 1” is a potent representation of the band’s history, opening with the snarling riffs of “Under and Over It.” The first volume includes 13 rerecordings and three live tracks. When played side-by-side with the originals, the new self-produced songs never sound like tired retreads but are powered by some contemporary fire in the band’s performances.

The first public glimpse in the project was a rerecording of “I Refuse,” a power ballad from 2018, this time as a duet with Maria Brink (of In This Moment), released as a single in May.

Once news of the project, and its inspiration, began to spread, Five Finger Death Punch began to hear from a new constituency: Swifties.

“What’s kind of crazy is that I see Taylor Swift’s fans on our social media and bulletin board going, ‘Yeah!’ That’s the most bizarre thing,” Bathory says of the new voices cheering the band forward. “We are so far away from each other in style. But it seems like it hit a chord. I guess people who don’t necessarily understand or are privy to the music business and how it works still feel like this is not right.”

While the band is also six songs into recording its next album of new material, Bathory says the new best-of recordings are expected to be fully embraced by the band’s famously intense following.

“Our fans are pretty hardcore,” Bathory says. “They’re very engaged, and they know exactly why we did this. So I think, just to support the band, they will switch [their allegiance to the newer versions] anyway. But these recordings are going to live next to each other.”

Founded in 2005, Five Finger Death Punch was the culmination of the rock star dreams of Bathory that began as teen in Hungary, first as a fan of British punk rock, before turning to metal after discovering Iron Maiden (with early singer Paul Di’Anno). He built his own electric guitar to look like one used by the L.A. heavy metal band W.A.S.P., with a skull-and-crossbones painted onto the surface.

Rock music wasn’t played on TV or the radio in the then-communist country, so Bathory and his friends traded cassette tapes of any punk and metal they got their hands on. “Somebody always somehow smuggled in a record, and we would all copy it,” he remembers. “It created this subculture where we didn’t just look at it as music. It was the sound of the rebellion.”

Bathory also dressed the part, drawing attention for his Def Leppard T-shirt with the Union Jack flag, studded leather jackets and belts, and long hair. Kids who adopted that look and spoke in the language of Western hard rock actually risked arrest, he says.

“I’ve been chased around by the cops so many times,” he recalls with a laugh.

By his early 20s, Bathory moved to New York City with his guitar, about $1,000 in his pocket, and no English-speaking skills. While living in low-budget squalor, he slowly taught himself English, first by translating a random copy of the Stephen King novella “Rita Hayworth and Shawshank Redemption.” He played with bands that got nowhere, and after six years relocated to Los Angeles, and things started to change.

For a year, he played bass in the L.A. hard rock band U.P.O., which enjoyed some chart success, then formed Five Finger Death Punch, with a name inspired by the 1972 kung fu film “Five Fingers of Death” and Quentin Tarantino’s two “Kill Bill” epics.

Zoltan Bathory, founder and guitarist of the heavy metal band Five Finger Death Punch, pilots a small boat on the man-made lake outside his Las Vegas house.

(Steve Appleford)

“I knew exactly what I wanted. There was a vision,” says Bathory.

That vision got clearer when he first saw singer Moody performing with the nu metal band Motograter. It was Bathory’s good fortune that Motograter would soon break up. He reached out to Moody in Denver.

“He was special — his performance, his voice. That star quality thing is a real thing,” notes Bathory of the growling, emotional singer. “You could tell he was a rock star, right? I’m like, OK, that’s the guy.”

In their first years as a band, the quintet played more than 200 shows annually. “We played every little stage that exists,” Bathory says.

Sitting beside the guitarist now in the café is Jackie Kajzer, also known as radio DJ Full Metal Jackie, who first spotted the band on MySpace. She soon caught an early set at the Whisky a Go Go and was immediately sold on their sound and potential. She was also a junior manager at the Firm, a leading management company at the time representing Korn, Limp Bizkit and Linkin Park.

Kajzer urged the company to sign the ominously-named Five Finger Death Punch, and after two showcase performances on the Strip, it did. The metal band was soon added to the side stage of the high-profile 2007 Family Values Tour, followed the next year by the traveling Mayhem Festival, leaving a powerful impression among new fans and fellow artists.

“When you find something that makes you feel something, it makes it worth fighting for,” says Kajzer, who has remained part of the band’s management team ever since, now at 10th Street Entertainment. “I had never felt it before. PS: I’ve never really felt that again, that same early feeling. You believe in it and you want to shake everyone else and make them get it as well.”

Five Finger Death Punch’s recording career began by uploading a few songs at a time — early versions of “Bleeding,” “Salvation,” and “The Way of The Fist” — to MySpace, then an essential platform for new acts, or what Bathory now remembers with a laugh as “the center of the universe.”

“It was extremely hard, but in the beginning we knew we had something because there was this instant interaction,” Bathory says of fan response. “We were all in bands before — many, many bands. We all recognized that, OK, there’s something different here. We didn’t have to convince people. It just started happening and it was growing really fast.”

Zoltan Bathory, stands beneath a Turkish lamp in his Las Vegas house.

(Steve Appleford)

“The ones that make it, they’re here for decade after decade,” he says of the larger metal scene, which enjoys a seemingly eternal audience. “The family [of fans] is extremely loyal and they’re there forever. Once you’re in, you’re in.”

The band’s first album, 2007’s “The Way of the Fist,” was largely recorded in Bathory’s apartment near the Sunset Strip. It reached halfway up the Billboard Top 200 album chart and eventually went gold, with 500,000 copies sold. While even greater success follower, there has also been the usual ups and downs in the life of a metal band, with group members coming and going, troubles with substance abuse, and arguments over creative choices.

After two decades together, the singer and the guitarist have survived.

“It’s still a tornado. It’s a band, a bunch of guys, so I don’t think it’s ever going to change. We built this freaking thing like it was a battleship,” says Bathory with a grin, sitting in the castle beneath an ornate Turkish lamp.

“It’s always going to be that we fight and argue, but at the end of the day, we always figure things out. We always climb the next mountain.”

The former “King of the Beach” kept his crown tucked away Saturday night.

Clad in denim jeans and a plain white shirt, Sinjin Smith hovered on the sidelines of the sand.

When Hagen Smith — the son and spitting image of Sinjin — sailed a serve too far, Sinjin craned his neck back and clenched his jaws.

“On the court, he tells me to serve short, and I never listen,” Hagen said.

And when Hagen — a UCLA alum like his father — uncorked a spike that thudded into the sand untouched, Sinjin’s arm sliced the air as a grin stretched across his face and his applause echoed.

“I wasn’t disguising anything,” Sinjin said.

Anonymity didn’t stand a chance as Sinjin watched Hagen and Logan Webber locked in a razor-edged three-setter against the Palm Beach Passion that twice spilled past regulation.

But as Sinjin rode every rally, Hagen and Webber eked out a narrow victory, going 13-15, 18-16 and 18-16. The L.A. men’s duo remains undefeated through five weeks of AVP play, helping offset the L.A. Launch female duo’s first loss of the year earlier Saturday. Their combined records will determine whether they win the AVP League regular season crown.

L.A. Launch’s Hagen Smith spikes the ball as Logan Webber watches during their win over Palm Beach Passion’s Phil Dalhausser and Trevor Crabb at the Intuit Dome on Saturday.

(Allen J. Schaben/Los Angeles Times)

Two dozen years removed from his final outing on the sand, Sinjin carved his career on the chaos of close calls. But Friday, with his son trading kills in a battle that felt like it refused to end, Sinjin was dodging heart attacks.

As the crowd learned in, Sinjin leaned back.

“It’s nerve wracking to watch him — you couldn’t get a better match for the fans, but I hated it,” Sinjin said. “I want to win in two and go home.”

While Sinjin might’ve winced through every extra-point rally, Hagen soaked it all in — steady under pressure.. He may be “trying his best to live up to” his father, but to hear Sinjin tell it, Hagen had already surpassed the myth.

Sinjin Smith competes in the AVP Santa Barbara Open on 18 Aug. 18, 2001, in Santa Barbara.

(Icon Sportswire / Icon Sportswire via Getty Images)

“He’s an unbelievable resource to me. I’ll ask him at like, midnight, ‘Hey, can you come out in the morning and coach me?’ He’s there,” Hagen said of Sinjin. “I’ve modeled my game after him, through and through. If I can be as anything like him as a player, I’m honored.”

Sinjin marveled at Hagen with the awe of a fan.

“He’s his own person. He’s playing for himself, trust me,” Sinjin said. “He may be wanting to prove something to me, I don’t know, but he’s done so much more than I ever expected. He’s so fun to watch — the fact that he’s my son, that’s just icing on the cake.”

Sinjin, the UCLA and International Volleyball Hall of Famer, tapped his temple twice when asked where he and his son aligned on the sand. The resemblance, he said, lives in the mind — because Hagen’s style has taken on its own shape, forged far from his father’s shadow.

“He jumps and he’s powerful and he moves in the sand,” Sinjin said. “I did everything pretty well, which was my strength, but he really excels in — for one, attacking the ball, he hits the ball harder and more explosively when he attacks than I ever was.”

For as long as Hagen could remember, Pauley Pavilion was the lighthouse in the distance — the promised land of his childhood dreams. And when he finally walked into the arena, his eyes fixed to a familiar face.

There was Sinjin, featured on the walls around the Bruins’ home.

“Getting to see that, it’s like, ‘Ah, this is home to me. I’ve got dad helping me out, I’ve got dad watching over me. Luckily I got to wear his number that was retired and that felt awesome,” said Hagen, who wore his father’s No. 22 jersey in college.

Sinjin played under Al Scates — the architect of UCLA’s volleyball dynasty and the winningest coach in NCAA men’s volleyball history. Under Scates and his 19 national titles, winning was the annual expectation.

And under Scates’ tutelage, Sinjin bookended his career with national glory, and flooded his cabinets with individual accolades — two All-American recognitions, a Most Outstanding Player distinction at the 1979 national championship and a stalwart of the historic undefeated 1979 squad.

L.A. Launch’s Hagen Smith, left, and Logan Webber, right, celebrate with L.A. Launch teammate Terese Cannon after Smith and Webber beat Palm Beach Passion’s Phil Dalhausser and Trevor Crabb during AVP League play at the Intuit Dome in Inglewood Saturday.

(Allen J. Schaben/Los Angeles Times)

“[Scates] was the best coach of all time in the United States,” Sinjin said. “Al had a knack for picking players that had more than just a physical game. They had a mental game as well. … There’s so many of them that Al trained and went on to be the best of the very best in either beach or indoors.”

Decades later, Hagen was coached by Scates’ protege John Speraw.

After rattling off the names of former teammates and sand-side partners, Sinjin paused, seemingly struck by a pattern he couldn’t ignore: “God,” he said, “there’s a lot of UCLA legends going around.”

Two of those share the same last name.

“[Sinjin] tried to get me into tennis,” Hagen said, “and I was like, ‘Dad, I just want to play volleyball. I just want to be like you.’”

Other AVP results

In other AVP action Saturday, Palm Beach Passion’s Melissa Humana-Paredes and Brandie Wilkerson handed L.A. Launch’s Terese Cannon and Megan Kraft their first loss, winning 12-15, 15-6, 15-10.

San Diego Smash’s Devon Newberry and Geena Urango defeated Miami Mayhem’s Kelly Cheng and Molly Shaw 15-10, 15-11.

And San Diego Smash’s Chase Budinger and Miles Evans beat Miami Mayhem’s Chaim Schalk and James Shaw 11-15, 15-11, 15-13.

LANGLEY, Va. — At CIA headquarters, beyond the handsome granite seal on its lobby floor and a wall of stars carved in honor of the agency’s fallen, experts are at work in the complex tasks of spycraft: weapons-trained officers, computer engineers, virologists, nuclear scientists.

But there are also storytellers, makeup artists, theater majors and ballerinas — Americans who probably never thought their skills would match the needs of a spy agency. Yet the CIA thought otherwise.

Though it rarely gets the spotlight, there’s a revolving door of talent between the country’s premiere intelligence agency and its entertainment industry, with inspiration and influence often working both ways.

The agency is targeting professionals at the intersection of arts and technology for recruitment, CIA officers told The Times, and continues to cooperate with entertainment giants to inspire the next generation of creative spies.

This month, the agency is assisting a New York Times bestselling author on a young adult book examining the foundations of the CIA laid during World War II. Scenes from a major upcoming film production were just shot at its headquarters, a logistical feat at an intelligence campus tucked away in the Virginia suburbs behind rings of security perimeters, where officers roam cracking down on Bluetooth signals. Another popular streaming TV series will be back at Langley to film this fall.

But their collaboration goes far deeper than that, officers said. Creative minds in Hollywood and the entertainment industry have long had a role at the Central Intelligence Agency, devising clever solutions to its most vexing problems, such as perfecting the art of disguise and harnessing a magician’s ability to cast spellbinding illusions. Indeed, in the 1950s, a magician from New York named John Mulholland was secretly contracted with the agency to write a manual for Cold War spies on trickery and deception.

These days, the officers said, creative skills are more valuable than ever in such a technologically complex world.

“You’re only limited by your own imagination — don’t self-censor your ideas,” said Janelle, a CIA public affairs officer, granted the ability to speak under her first name at the request of the agency. “We’re always looking for partners.”

An elusive history

David McCloskey, a former CIA analyst and author of “Damascus Station” and other spy thrillers, offered several theories on why the agency might be interested in fostering a robust relationship with Hollywood, calling it “a two-way street.”

“There definitely have been operational applications for espionage,” McCloskey said. “It’s probably the exception to the rule, but when it happens, it’s compelling.”

It’s easy to see why CIA leaders would be interested in Hollywood, he said, in part to shape impressions of the agency. “But their bread and butter business is receiving people to give secrets,” he continued, “and part of that is getting close to people in power.”

“The closer you are to Hollywood,” McCloskey added, “that’s a really interesting ‘in’ to having a lot of interesting conversations.”

The CIA’s mission to rescue six American diplomats out of Tehran during the Iran hostage crisis, the subject of the film “Argo,” featured a detailed ruse centered around a fabricated movie project.

(CIA Museum)

Some of the CIA’s most iconic missions — at least the declassified ones — document the agency’s rich history with Hollywood, including Canadian Caper, when CIA operatives disguised themselves as a film crew to rescue six American diplomats in Tehran during the Iran hostage crisis, an operation moviegoers will recognize as the plot of “Argo.”

“‘Argo’ was almost too far-fetched to even believe,” said Brent, an in-house historian at CIA headquarters. “It’s almost more Hollywood than Hollywood.”

Canadian Caper was both inspired by Hollywood and relied on Hollywood talent. Agent Tony Mendez had been a graphic artist before joining the agency and helping craft the mission.

Another key player was John Chambers, the makeup artist who gave the world Spock’s ears on “Star Trek” and won an honorary Oscar for his trailblazing simian work on “Planet of the Apes.” He was awarded the CIA’s Intelligence Medal of Merit for his work on the covert rescue effort.

The Los Angeles Times broke the story in February 1975 that business tycoon Howard Hughes had lent his ship, the Glomar Explorer, as cover for a CIA operation.

(CIA Museum)

Just a few years before, Howard Hughes, then one of the world’s richest men and a tycoon in media, film and aerospace, agreed to work with the CIA to provide cover for an effort by the agency to lift a sunken Soviet nuclear submarine off the floor of the Pacific Ocean.

Deploying Hughes’ Glomar Explorer under the guise of mineral extraction, the CIA was able to salvage most of the sub before The Times broke a story blowing its cover — “the story that sunk our efforts,” in CIA parlance.

And another mission was made possible thanks to a device invented by a professional photographer — a gadget that later became the inspiration of an over-the-top scene in the blockbuster Batman film “The Dark Knight.”

In Project Coldfeet, CIA agents gathering intelligence on a Soviet station erected on a precariously drifting sheet of ice in the Arctic needed a reliable extraction plan. But how does one pick up an agent without landing a plane on the ice?

The answer was the “skyhook”: Balloons lifted a tether attached to a harness worn by an agent high into the sky. A CIA plane snagged the tether and carried the agent off to safety.

In “The Dark Knight,” Batman makes a dramatic escape deploying the same kind of balloon-harness contraption.

‘The superhero spy’

CIA leadership often says that acceptance into the agency is harder than getting into Harvard and Yale combined. Yet the agency still has challenges recruiting the type of talent it is looking for — either in reaching those with unconventional skills, or in convincing them that they should leave secure, comparatively well-paid, comfortable jobs for a secretive life of public service.

It is no easy task managing work at the agency, especially with family, CIA officials acknowledged. Deciding if and when to share one’s true identity with their children is a regular struggle. But Janelle said the CIA tells potential recruits there is a middle ground that doesn’t require them to entirely abandon their existing lives.

A professional photographer working with the CIA invented what became known as the “skyhook,’ a surface-to-air recovery system used by the spy agency in an Arctic mission and later featured in the 2008 Batman film “The Dark Knight.”

(CIA Museum)

“People don’t have to leave their companies to help their country and to work with CIA,” Janelle said. “People come here because they love their country and know they can make a difference.”

Janelle is part of a team that regularly engages with creatives who want to portray the agency or spies as accurately as possible.

“Some producers and directors reach out and they do care about accuracy,” Janelle said, “but they ultimately pick and choose what’s going to work for the film or show.”

CIA analysts have also been known to leave the agency for opportunities in the entertainment industry, writing books and scripts drawing from their experiences — so long as they don’t track too closely with those experiences.

Joe Weisberg, the writer and producer behind the television series “The Americans,” and McCloskey, who is working on a fifth novel focused on U.S. and British intelligence, were both part of the agency before launching their writing careers. And as CIA alumni, they had to submit their works for review.

“There’s a whole publication and classification-review process,” Brent said.

That process can be a bit of a slog, McCloskey said: “They quite literally redact in black ink.”

But it is far more difficult for nonfiction writers than novelists.

“There could be bits of tradecraft, or alluding to assets, or people at the agency, which are clear no’s,” McCloskey said. “But with novels, it’s not that hard to write them in a way to get them through the review board.”

Try as they may, studios often repeat the same falsehoods about the CIA, no matter how often they are corrected. Officers and agents aren’t the same thing, for one. And as disappointing as it may be for lovers of spy thrillers, the majority of officers are not licensed or trained to carry weapons.

“One thing Hollywood often gets wrong is the idea that it’s one officer doing everything, when it’s really a team sport here,” Janelle said.

Jessica Chastain, center, plays a member of the elite team of spies and military operatives who secretly devoted themselves to finding Al Qaeda leader Osama bin Laden in the Columbia Pictures 2012 film “Zero Dark Thirty.”

(Jonathan Olley / Sony Pictures)

“Zero Dark Thirty,” an Oscar-winning film released in 2012 about the hunt for Al Qaeda leader Osama bin Laden, was widely acclaimed but criticized by some within the intelligence community over the credit it lends a single, fictional CIA analyst for tracking him down.

McCloskey sympathizes with the writer’s dilemma.

“I can’t have 35 people on a team. From a storytelling standpoint, it just doesn’t work,” he said, acknowledging that little in the field of espionage is accurately captured on screen, even though there are plenty of former spies available to work as consultants.

“There’s no lack of sources to get it right,” he said. “It’s that the superhero spy — the Jack Ryans and Jason Bournes — are pretty much the Hollywood representation of espionage.”

However inaccurately glorified and dramatized, the agency hopes that Hollywood’s work can keep the revolving door moving, inspiring atypical talent to join its ranks.

“We have architects, carpenters, people who worked in logistics,” Brent said. “People might not realize the range of skill sets here at CIA.”

And as Canadian Caper showed, sometimes spycraft requires stagecraft. It’s possible that what’s needed most to complete the next mission won’t be oceanography or data mining, but costume design. Or maybe another ballerina.

Iconic dating show Blind Date is set for another reboot with it said to be getting a Love Island-style twist when it airs on Disney+

One of the most iconic gameshows is set to return to our screens, but with a twist. Fans of eighties television will be buzzing at the news that Blind Date is set for a reboot.

The dating show which was hosted by Cilla Black is set for a revival. However, instead of its previous ITV home, the show is set to appear on Disney+.

And in a dramatic twist, the show will see contestants spend time on a tropical island as hopefuls compete for a dream wedding on the golden sands. An insider claims the show will have “hints of Love Island about it”.

Talking to the Sun, the source said it’s a “radical departure” from the old style Blind Date. They told the publication: “But fans will recall a lot of the dates took place in hot, sunny climes abroad, and ­producers want to recapture some of the steamy fun, and expand upon that.

“Even the wedding element has hints of the old show, because the dream was always that the dates on the programme would lead to couples tying the knot.”

And they added that not all of the old ­characteristics will be eliminated, with plans still set to incorporate the show’s famous ­sliding wall. The source went on to say the show’s producers hope to “hire a top female host just like Cilla”.

It’s said a star-studded line-up of female hosts are being eyed up to step into Cilla’s shoes. Among those being rumoured are Holly Willoughby, Davina McCall and The Traitors‘ Claudia Winkleman.

It’s unknown whether the show will provide a replacement for voiceover Graham Skidmore, aka ‘Our Graham’.

The show’s return was speculated earlier this month, 22 years after it last aired. The ITV show originally aired on Saturday nights from 1985-2003. At the time, saw hundreds of couples meet for the first time looking for love.

Like most dating shows, many didn’t last past the studio doors, however a number of couples did make it all the way to the alter.

Any reboot won’t be the first time the show has been revived. Most recently, in 2017, the show made its return on Channel 5. It came two years after the death of original host Cilla Black – with Paul O’Grady replacing the late host.

Melanie Sykes also joined the show as a replacement for ‘Our Graham’ providing the iconic voiceover. The show ran for four series until June 2019. Original voiceover Graham died in 2021 at age 90, seven years after the death of host Cilla Black in 2015.

READ MORE: GAP’s kids clothing sale with cut price Disney, Barbie and more for summer holidays

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IT is one of the most nostalgic TV reboots of the year – but I can reveal the return of Blind Date will come with a very modern Love Island-style twist.

Earlier this month I revealed the programme, made famous by host Cilla Black in the Eighties on ITV, was being revived by Disney+.

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But it will have a different flavour because much of the show will be spent on a tropical island — just like Love Island, hosted by Maya Jama— where contestants will compete for a dream wedding on the golden sands.

A TV insider said: “This sounds like a radical departure from the old Blind Date, one that definitely has hints of Love Island about it.

“But fans will recall a lot of the dates took place in hot, sunny climes abroad, and ­producers want to recapture some of the steamy fun, and expand upon that.

“Even the wedding element has hints of the old show, because the dream was always that the dates on the programme would lead to couples tying the knot.”

Cilla was at the helm for 18 years on the show which saw a contestant firing questions at three hopefuls concealed from their view by a wall — which slid back to reveal their chosen date.

One of the hopefuls in 1991 was Amanda Holden.

The TV insider added: “In the reboot, the creators are not entirely dispensing with all of the old ­characteristics either as there are still plans to incorporate the show’s famous ­sliding wall and hire a top female host just like Cilla.”

Disney+ is imminently expected to confirm it is reviving Blind Date, though all details have been kept firmly under wraps.

No presenter has signed up as yet but the channel is targeting some big names in British TV, with the main criteria being that they have to be hugely famous women.

Here’s hoping whoever gets the role doesn’t mind getting a bit of sand between their toes in the course of the job.

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KATH TAKES FLIGHT

KATHERINE KELLY is back dishing out the drinks . . . 13 years after pulling pints in the Rovers Return.

On Corrie she played feisty barmaid Becky McDonald, while now she’s cabin crew on new Channel 4 thriller In Flight.

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Katherine will also be serving up some nerve-racking moments as single mum Jo Conran whose life is turned upside down by crooks.

Through the airline she works for, she finds herself blackmailed into drug smuggling after her son is imprisoned in Bulgaria for a murder he claims he didn’t commit.

The six-parter, set in Bangkok, Bulgaria, Istanbul and London, wrapped filming this spirng and is set to air later this year.

STEPHEN IN TECH LESSON

STEPHEN FRY wants to make a futuristic TV drama series where e-mails, TikTok and SnapChat are “uncool” and people return to basic communication in “an unplugged life”.

The Celebrity Traitors star told podcast Extraordinary Life Stories: “I was planning to write a TV series in which this kid comes to a school and completely changes it.”

The pupil asks the teacher how to submit his essay as he doesn’t have a computer so can’t email it.

Stephen continues: “All the other (pupils) think ‘Who is this ridiculous child?’

“But then he starts influencing everybody. They think this is quite a fun way to live.

“We’ve come to a tipping point now where the uncoolest thing in the world is Snapchat, Instagram and TikTok.

“We know they’re harmful, but they are also vapid and shallow and silly.

“Imagine an unplugged life using all these fabulous old tools. You’d be the coolest people.”

SEX JOKE BIT MUCH FOR WILL

BRIT actor Will Sharpe came over all prudish about a sex scene in upcoming Netflix rom-com series Too Much . . . well, compared with the Americans on set.

He cringed as US actress Megan Stalter, who plays the lead role in the show about an American woman coping with a new life in London, joked with the show’s US creator Lena Dunham after the X-rated action.

At this week’s launch of the show, which drops on July 10, Lena said: “One of Meg’s favourite things to do is to ask you after a take: ‘What face were you making during that?’

“One time it was right after a sex scene and Meg was like: ‘What face were you making during that?’

“And I heard Will’s mic, like: ‘Jesus f***ing Christ, Meg!’”

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