John

Growing up, filmmaker Fernando Eimbcke didn’t get to watch the scene in “The Breakfast Club” where the teenage characters smoke marijuana. That moment was removed from the VHS copy of the 1980s classic he’d rented because of strict censorship in Mexico at the time.

Drug use or not, that John Hughes movie, as well “Ferris Bueller’s Day Off,” impacted him profoundly. “Those were movies that spoke to young people, and in Mexico there wasn’t much cinema aimed at teens,” Eimbcke tells me in Spanish on a video call from Mexico City.

From his indie trench, Eimbcke, 55, has tried to fill that void in Mexican cinema — starting with his 2004 acclaimed debut “Temporada de patos” (Duck Season), about two teen boys spending a day without adult supervision. Since then, in films like “Lake Tahoe” (2008) or “Club Sandwich” (2013), the woes of adolescence have dominated his purview.

With “Olmo,” in theaters Friday, Eimbcke has adapted his career-long interest on the youth’s preoccupations to a story on this side of the Mexico-U.S. border for the first time.

Set and filmed on location in Las Cruces, N.M., his bilingual coming-of-age dramedy follows the titular Olmo (played by Aivan Uttapa), a charismatic Mexican American 14-year-old boy in the 1970s, whose bedridden immigrant father requires around-the-clock care.

The tightly written and humorously bittersweet narrative (co-penned by Eimbcke and Vanesa Garnica) unfolds over the course of a fateful Saturday. Nina Sandoval (Melanie Frometa), Olmo’s crush, invites him and his boot-wearing best friend Miguel (Diego Olmedo) to a party, with the condition that they bring a stereo. But Olmo has also been tasked with looking after dad Nestor (Gustavo Sánchez Parra), while his mother works.

Olmo must decide between fulfilling his duty or pursuing his age-appropriate impulse for fun.

Fernando Eimbcke’s new coming-of-age dramedy “Olmo” follows a charismatic Chicano teen in 1970s New Mexico.

(Andrew Bohn / Olma 2023 LLC)

It was during the six years that Eimbcke lived in Germany that Plan B, the American production company behind titles like “Moonlight,” reached out with an idea for him to write a screenplay about a Mexican American character. That project didn’t come to fruition, but Eimbcke took advantage of their initial interest to create his own story.

Eimbcke had long been interested in stories of migration, and in the dynamics that occur within “bicultural” families. His experience living abroad heightened this curiosity.

“I’m surprised to see the fear that governments and society have regarding migration today. It’s one of the best things that can happen to a culture,” Eimbcke says. “Everyone is talking about Christopher Nolan’s ‘The Odyssey,’ and the story of Odysseus is a story of migration.”

Among the key inspirations that shaped how Eimbcke and Garnica (who have been friends since they were 14 years old) conceived “Olmo” were Dominican American author Junot Díaz’s work, as well as Kevin Bubriski’s photography book “The New Mexicans: 1981-83.”

“He photographed Mexican Americans in the 1980s in New Mexico, and that gave us many ideas,” he says. “He has some incredible, truly beautiful photos of Mexican Americans.”

While scouting locations in New Mexico, the production interacted with local Latino families. In those households, Eimbcke witnessed immigrant parents speaking Spanish to their children who replied to them in English. Similar exchanges happen in “Olmo.”

“If communication is already difficult within a family when everyone speaks the same language, the idea of a family speaking two languages struck me as absolutely fascinating. Rather than an obstacle, I saw it as an opportunity to explore their relationship,” he explains. “Language isn’t always that important. When Olmo and Néstor argue over the stereo, you never really know if they actually understand each other through words or not.”

The complex intricacies of language manifested on Eimbcke’s first bilingual set.

During a scene where Olmo and Miguel finally fix the stereo and begin dancing, Eimbcke wanted a more rambunctious reaction. He started yelling, “More caos. More caos.” The assistant director looked puzzled, thinking the director was asking for “cows.” Eimbcke meant “chaos,” but pronounced it Spanish, which sounds like the farm animal in English.

“It was very difficult for me, because my English is far from perfect, it’s actually quite imperfect,” Eimbcke says sincerely.

For Uttapa, 17, these interactions seemed authentic; he is a second-generation Mexican American whose grandmother came to the U.S. from Mexico, while his mother was born here.

“My grandma speaks fluent Spanish, and she talks to me, my brothers, and my sister in Spanish, and we answer in English,” says Uttapa on Zoom. “That dynamic and that detail in the movie really did make it real to me.”

Fernando Eimbcke’s new coming-of-age dramedy “Olmo” follows a charismatic Chicano teen in 1970s New Mexico.

(Andrew Bohn / Olma 2023 LLC )

Based in Las Vegas, the fresh-faced Uttapa started acting at 12. He shared his interest in performing with his parents, who enrolled him with acting coach Frank Parillo. “I remember telling my mom, ‘I just want to entertain. I just want to be relatable and make an impact on people.’ If you can impact one person, then it pretty much is worth it,” he says.

Eimbcke cast him solely based on his self-tape after a long search for the right actor to become Olmo, primarily in Los Angeles and New York.

Since shooting “Olmo” when he was 14, Uttapa has appeared in the latest season of the hit medical drama “The Pitt,” playing Grady Barnhill, who has an asthma attack, in two episodes. Still, playing Olmo remains the highlight of his short but burgeoning career.

“I’ve gotten some auditions here and there about Mexican American or Latino characters, but if I’m being honest, none of them really clicked to me as much as it did with Olmo. I really felt a connection with the character,” Uttapa notes.

That Eimbcke set “Olmo” in the ’70s — based on his memories of watching “Saturday Night Fever” as a child and being enamored by disco music — helped Uttapa connect with the character. At several points in their adventure, Olmo and Miguel break out their best dance moves.

His mother, Uttapa says, thinks of him as an “old soul,” given his eclectic taste in music, from Elvis Presley and Del Shannon to AC/DC and Led Zeppelin.

“I was already familiar with cumbia, because my mom would always teach me,” Uttapa says. “The disco dancing wasn’t really that hard for me because I grew up loving ’70s music, so I’d always dance in my room to it. And being able to show it on screen was really special.”

Eimbcke says he has no secret technique to obtain wonderful performances from his teen stars; the only strategy that works is to lean into fun. “Teenagers are very willing to play. They are willing to take risks,” the director adds. “And I always love combining two schools of acting: the professional and the nonprofessional.” The actors who play Olmo’s parents, Gustavo Sánchez Parra and Andrea Suárez Paz, are seasoned Mexican thespians.

And while Eimbcke may very well be the Mexican John Hughes, there are certainly uniquely Mexican, and perhaps unexpected, references that were foundational for him as an artist.

“I also grew up watching a lot of telenovelas. They were really formative for me, specifically, the telenovelas on the local Channel 2,” Eimbcke confesses. “I remember there was one I followed religiously called ‘Quinceañera,’ starring Thalia. I loved it.”

This month’s LA Jazz Festival was slated to be one of the largest concerts in Los Angeles history.

With dozens of performances spread throughout every City Council district, organizers hoped the shows would draw 250,000 attendees and inaugurate the city as a home for jazz events on par with New Orleans and Montreal.

Those hopes will have to wait, as organizers announced the cancellation and postponement of the festival on Friday, including its main show Aug. 22-23 on Dockweiler Beach.

“Due to significant, unanticipated last-minute public safety and municipal costs associated with the final permitting of the On The Beach Festival, we have reached the decision to unfortunately postpone this year’s inaugural LA Jazz Festival,” organizer Martin Ludlow said in a statement to the Times. “Although this decision was an extremely difficult one to reach, our commitment to the audiences and artists participating in the festival is to have a first-class experience worthy of the great legacy of Jazz and our great city. We were encouraged by the enthusiastic support of the artists on the bill, the fans and our sponsors for this inaugural event, and we look forward to presenting all of the components of this incredible cultural opportunity for Los Angeles and the world in 2027 and beyond.”

John Legend, Janelle Monáe, Charlie Wilson, Parliament Funkadelic and Raphael Saadiq were booked to headline the main show.

“We are so grateful to all the artists–from our headliners to our musicians in the parks, many of whom went above and beyond to make this affordable to the community,” Ludlow added. “All current ticket holders for LA Jazz Festival events will be refunded in full within 30 days. We apologize deeply for this situation and vow to make this right over time.”

LA Jazz Festival was a major project for Ludlow, a former Los Angeles City Council member turned music promoter and community activist after pleading guilty to misappropriating funds in 2006.

Ludlow announced the show in a splashy speech on the steps of City Hall in February, flanked by Mayor Karen Bass and other civic leaders. “During this journey, you can only imagine there’s a lot of highs and a lot of lows,” Ludlow said then. “When you have those lows, you want a friend that really can lift you up.”

Back in February, Ludlow described the mission of LA Jazz Festival with a civil rights-inspired fervor, saying that “This festival is intended to lift up our ancestors that came to this country in bondage, terrorized, brutalized. It’s also about celebrating the end to those last bastions of Jim Crow racism, the days we were denied access to public drinking fountains, public swimming pools and public beaches. From the beginning of this journey, we’ve been very intentional about telling the narrative of that human rights struggle called Jazz.”

BROOKLYN Beckham and wife Nicola Peltz enjoyed a luxury stay at his godfather Elton John’s £15m Nice villa after narrowly avoiding an awkward run-in with estranged parents David and Victoria.

Sir Elton, 79, and husband David Furnish, 63, invited the couple over to stay and the vibe looked relaxed from pictures shared to the couple’s Instagram pages.

In one Brooklyn, 27, looks carefree as he lays on the grass while in another he smiles beside Nicola, 31, who beamed with her arm wrapped around Elton.

Furnish commented: “So lovely having you both to stay with us……”

He also wrote on Nicola’s collection of snaps: “Such a lovely time we all spent together.”

The American actress could be seen admiring a lily pond and outdoor tennis courts.

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Before the villa stay, the couple lived it up on Elton’s super yacht off the shore of St Tropez.

David, 51, and Victoria, 52, had the same idea and spent time relaxing on their own vessel at the lavish location on the French Riviera.

The two warring factions were photographed minutes apart when they ventured onto dry land for a spot of shopping and a bite to eat.

Despite numerous olive branches, Brooklyn is still refusing to speak to his parents, who he accused of “hijacking” his wedding to Nicola in 2022 and caring more about Brand Beckham than family members themselves.

He also alleged the fashion designer Victoria pulled out of making Nicola’s dress at the eleventh hour. 

Brooklyn has since served his parents with a legal notice telling them they should only contact him through his lawyers. 

Meanwhile, it has been claimed by the Daily Mail that things between them were tense before he and Nicola tied the knot. 

A source told the publication: “Indeed, relations had become so fraught between Brooklyn and his parents – because of tensions with his fiancee Nicola – that I can reveal that they weren’t actually on speaking terms for some three months before the young couple married in Palm Beach, in April 2022.”

LONDON — Booker Prize winners Marlon James and Douglas Stuart are in the running again for the prestigious fiction award, alongside Dublin gangs, dystopian science fiction and the New England characters of Pulitzer Prize laureate Elizabeth Strout.

Judges read 163 novels to come up with the 13 semifinalists announced Tuesday for the $66,000 Booker Prize, a list described by historian Mary Beard, head of the judging panel, as literary “dynamite.”

The list includes James’ “The Disappearers,” about a group of gay men in a hostile 1980s Jamaica; Stuart’s “ John of John,” a story of father-son secrets on a remote Scottish island; and Strout’s heartfelt small-town tale “The Things We Never Say.”

Marlon James is semifinalist for the 2026 Booker Prize for fiction. In 2015, he became the first Jamaican writer to win the prestigious literary award.

(Neil Hall / Associated Press)

James won the Booker in 2015 for “A Brief History of Seven Killings,” and Stuart won in 2020 for “Shuggie Bain.” Strout’s “Oh William!” was a finalist in 2022. She won the Pulitzer Prize for fiction in 2009 for “Olive Kitteridge.”

They sit alongside lesser-known names on a Booker longlist that includes authors with roots in Britain, Ireland, Jamaica, Mexico, Turkey and the United States.

Three of those on the list are debut authors: Turkish American writer Kenan Orhan for the family history saga “The Renovation,” British author Rebecca Perry for the Medieval-to-modern tale “May We Feed the King” and Ireland’s Djamel White for “All Them Dogs,” a thriller set in the Dublin underworld.

White, at 28, is the youngest author in the running. The oldest is 81-year-old M. John Harrison, whose postapocalyptic tale “The End of Everything” is a rare science fiction novel to make the Booker list.

The other contenders are “The Shadow of the Object” by Chloe Aridjis, “Black Bag” by Luke Kennard, “The Vivisectors” by Missouri Williams, “Switzy” by Emma Cline, “Helen of Nowhere” by Makenna Goodman and Gwendoline Riley’s “The Palm House.”

Beard said the five jurors, who include Pulp frontman Jarvis Cocker and American novelist Patricia Lockwood, tried to look beyond the idea of a typical Booker winner — “slightly serious, about to be classic.” Instead, they chose novels that are “trying to expand the boundaries of how we can think about ourselves in completely different ways,”

“Sometimes they’re using humor, sometimes it’s pathos, sometimes there’s shock value,” Beard said. “They’re risk-takers. They are dynamite. They say, ‘Come on, try seeing it a different way.’ ”

Pulitzer Prize winner Elizabeth Strout is a semifinalist for the Booker Prize for fiction for her novel, “The Things We Never Say.”

(Leonardo Cendamo)

Founded in 1969, the Booker Prize has a reputation for transforming writers’ careers and is open to novels from any country published in the U.K. and Ireland. Last year’s winner was “Flesh” by Hungarian-British writer David Szalay.

The judges will announce six finalists on Sept. 22, and the winner will be revealed Nov. 9 at a ceremony in London.

Lawless writes for the Associated Press.

Emma Roberts and Cody John have said “I do!”

After four years as an item, Roberts and John tied the knot during an intimate ceremony at John’s family estate in Sun Valley, Idaho, on Saturday.

Page Six published photos of the outdoor nuptials that showed Roberts’ 5-year-old son, Rhodes (whom she shares with ex Garrett Hedlund), walking his mom down the flower-lined aisle, the bridal party dressed in coordinating black ensembles, Roberts throwing her head back in laughter while John appears to be reciting his vows and Roberts’ Oscar-winning aunt, Julia Roberts, taking her seat.

Notably not in attendance was the “American Horror Story” actor’s father, Eric Roberts. He addressed skipping the party, telling Page Six, “I love my daughter, always have, always will.”

“It is perfectly wonderful for her to celebrate however she wants, with whomever she wants.”

Among the famous friends who gathered for Roberts’ big day were “American Horror Story” co-stars Sarah Paulson and Billie Lourd, Demi Moore, Kristen Stewart and wife Dylan Meyer, “Pretty Little Liars” star Ashley Benson and her husband, Brandon Davis.

Roberts and John — an actor who has appeared in television shows including “In the Dark,” “Wu-Tang: An American Saga” and “The Rookie” — have been together since the summer of 2022. John popped the question two years later, in 2024. Roberts announced the news via Instagram with a photo of the two beaming near a river and a caption that read, “putting this here before my mom tells everyone.”

Roberts shared a glimpse into the planning of her wedding look with Vogue, who captured designer Monique Lhuillier discussing the concept of the dress. “Working with Monique has been an absolute dream,” she told Vogue. “I wanted it to feel very vintage-inspired. I’m obsessed with antique books and and treasure hunting, and I love collecting old ephemera.

“So I really wanted that to like shine through in the dress. So for me, it wasn’t so much about the cut; it was like about what the color was going to be. So Monique actually designed a custom color, and it’s this antique kind of tea-stained color that is so beautiful. Because I realized that, on my wedding day, I kind of wanted to look like a ghost, a little like [an] antique ghost doll.”

Lhuillier posted some clips from the Vogue fitting on social media and wrote that designing Roberts’ gown was about capturing a feeling of timeless romance through a modern lens. “Every detail, from the custom Vintage Rose hue to the hand-draped silk chiffon, delicate lacework and sculpted corsetry, was created to reflect her effortless spirit while celebrating the artistry of couture.”

This is the first marriage for the “Holidate” star. Roberts split from “Tron” and “Country Strong” actor Hedlund in 2022 after an on-again, off-again three-year relationship. She was also famously linked to “American Horror Story” actor Evan Peters. The pair had a tumultuous seven-year relationship that spanned 2012 to 2019.

ACTRESS Emma Roberts has tied the knot with her fiancee Cody John in a lavish Idaho wedding.

The American Horror Story star, 36, said “I Do” in front of close friends and family including the “Nerve” actress’s A-list aunt, Julia Roberts.

A source told Page Six that the ceremony took place in 95-degree weather and lasted about 45 minutes.

Emma looked gorgeous in a white chiffon wedding gown that featured a high slit as she held onto her son Rhodes’ hand as they walked down the aisle.

Cody, 29, looked stylish in a black tuxedo as he stood at the altar reading his vows to his new wife.

The couple got engaged back in July 2024, after nearly two years together.

At the time, Emma shared a photo of herself and Cody with the caption, “putting this here before my mom tells everyone.”

In the selfie, she was shown hugging her new husband while showing off her engagement ring on her finger.

Emma shares a son, Rhodes, with her ex-boyfriend, actor Garrett Hedlund.

The pair have co-parented Rhodes since the news of their breakup came out in January 2022.

“It’s been easy for Emma to co-parent with Garrett in a healthy way because she is so happy,” a source told Entertainment Tonight in October 2022.

Emma hails from New Jersey and is an American singer and actress.

She is the niece of Hollywood actress, Julia Roberts, and spent time on the sets of her aunt’s films when she was growing up, which inspired her to pursue a career in acting.

Her Hollywood debut was in the 2001 film, Blow, a role that gained her recognition and landed her an opportunity in Nickelodeon’s series, Unfabulous.

Emma has appeared in numerous films since her debut including Aquamarine, Nerve, Nancy Drew, and Hotel For Dogs and has starred in American Horror Story since 2013.

Bergerac is back for a “modern reimagining” of the iconic 1980s detective show.

Bergerac has returned more than 30 years on with fans questioning what happened to its original cast.

BBC has given hit detective series Bergerac a fresh new look with troubled DCI Jim Bergerac (played by Damien Molony) back and ready to investigate head-scratching crimes months after the death of his wife.

The first episode sees Bergerac dive back into the world of policing after a woman from one of Jersey’s wealthiest families is murdered.

But as the reboot drama debuted tonight, Friday, July 24, fans could not help but wonder what happened to the original stars who made Bergerac a hit.

Where is the Bergerac original cast now?

Jim Bergerac – John Nettles

Actor John Nettles led the way as heartthrob detective Jim Bergerac for nine seasons in the 1980s series, launching the now 82-year-old’s career.

When the show came to an end, he joined the Royal Shakespeare Company before taking on his next iconic role in 1997 as DCI Thomas Barnaby in ITV’s Midsomer Murders.

He remained in the detective drama until 2011 and later went on to have a recurring role as Ray Penvenen in BBC period drama Poldark.

Nettles has since retired from acting and, according to The i Paper, he turned down a cameo role in this latest Bergerac reboot stating “I’m too old and I’d just get in the way.”

Susan Young – Louise Jameson

Taking on the role of Jim Bergerac’s estate agent girlfriend Susan Young is actress Louise Jameson.

She previously played Doctor Who companion Leela in the late 1970s and regularly appeared in Bergerac between 1985 and 1990.

Jameson starred as Rosa di Marco in EastEnders from 1998 to 2000 but since 2022, she has been best associated with Mary Goskirk in Emmerdale.

Charlotte – Annette Badland

Charlotte was the secretary in the Bureau des Etrangers in the first three seasons of Bergerac.

She is played by actress Annette Badland who has been in shows such as Cutting It, Coronation Street and EastEnders as Babe Smith.

Fans will also recognise her as Mae the landlady in Ted Lasso and Nanny Bingo in Big Boys.

Deborah Bergerac – Deborah Grant

Actress Deborah Grant portrayed Deborah Bergerac, Jim Bergerac’s ex-wife.

She played receptionist Carol Johnson in ITV medical drama Peak Practice, Leonora in BBC sitcom Bread and the mum of Tim and Lucy in the Lee Mack comedy Not Going Out.

Marianne Bellshade – Celia Imrie

Actress Celia Imrie starred in the first two seasons of Bergerac as Jim’s girlfriend Marianne Bellshade.

The 74-year-old actress has starred in an abundance of iconic films throughout her career, including Calendar Girls, Mamma Mia! Here We Go Again and the Bridget Jones franchise.

She is also one of the mains stars of Netflix’s The Thursday Murder Club and appeared in other shows like Dinner Ladies, Kingdom and Cranford. She proved a hit in the first UK edition of BBC gameshow Celebrity Traitors.

Charlie Hungerford – Terence Alexander

Charlie Hungerford, Bergerac’s former father-in-law and dad of Deborah Bergerac, was played by actor Terence Alexander.

He starred as Dr Ian McLaren in Bless This House, Sir Greville Macdonald in The New Statesman and featured in films like The Seven Dials Murder and The Day of the Jackal.

Alexander made his last TV appearance in 1999 in Casualty before retiring due to poor health.

He died 10 years later in 2009 at the age of 86.

Barney Crozier – Sean Arnold

Officer in charge of the Bureau des Etrangers Barney Crozier was portrayed by actor Sean Arnold.

He starred as Mr Llewelyn in children’s show Grange Hill, Harry Fisher in medical drama Doctors and the chief constable in the BBC series Merseybeat.

Arnold passed away at the age of 79 in 2020.

Bergerac is available to watch on BBC Two and BBC iPlayer.

Damien Molony now plays Jim Bergerac, a role held for many years by John Nettles

Bergerac star Damien Molony has opened up about John Nettles‘ reaction after he replaced him in the series.

John starred as detective sergeant as Jim Bergerac in the original run of the British crime drama, which aired from 1981 to 1991. The much-loved series has now been rebooted, with Damien as DCI James ‘Jim’ Bergerac.

Asked if John had given the show his blessing, Damien told Radio Times they they had spoken about it and that he was “thrilled” with what the original Bergerac had to say.

He said: “We met and he said, ‘I’ve watched the first episode and I think it’s fantastic. It’s very different to what we did, it’s much darker – I loved it.’

“He didn’t need to say that, and I was thrilled that he did.”

The Bergerac reboot started in 2025, airing on U&Drama. It follows the police detective as he solves solves crimes in Jersey, while also dealing with issues in his own past.

Viewers have been enthusiastic about the new take on the series, with one posting on IMDB.com: “I have fond memories of the original with the gorgeous John Nettles, so there is always a bit of anxiety regarding a remake.

“However, this Bergerac, with the mesmerising Damien Molony is a different deal altogether. The general feel is much darker and less of a glossy travelogue for Jersey.. Have just binged this and can’t wait for the next season!”

Someone else said: “Like the reboot. Love the cast. Good plots and clever twists. The setting of the show is also an added bonus. I really like the actor playing the lead role, he is very likeable as this character.”

“I loved it,” one viewer posted on review site Rotten Tomatoes, although another added: “An entertaining reboot although not as good as the original.”

One reviewer commented: “Bergerac is not Superman, he is flawed and sometimes makes dumb decisions, and he wields the double-edged sword of obsessiveness, which leads to breakthroughs but can just as backfire.

“But he is very watchable, and Molony is able to persuasively carry Bergerac’s darkness and dynamism.”

Bergerac aired on on U&Drama.

Countryfile viewers were quick to share their excitement on Sunday night over a huge show update

Countryfile favourite John Craven shared a heartwarming show update on Sunday’s episode.

The latest instalment saw presenter Anita Rani continue her east coast road trip, visiting a nature reserve on the Essex coast and also joining a group of fossil hunters on the search for new historical treasures.

However, BBC show veteran John, 85, issued an important show update halfway through the episode as he revealed that the 2026 Countryfile Photographic Competition is now open. This year’s theme is Signs of the Seasons.

Anita, 48, said: “I could take a photograph in any direction and capture a moment in time, a perfect day at a British seaside resort. There’s buckets and spades, there’s ice creams, there’s dogs running around, we’ve got the lot. And if you want to enter our photographic competition in aid of Children In Need, then here’s our John with the details.”

John then appeared in a pre-recorded segment to promote the competition, saying: “From dramatic landscapes to fleeting wildlife moments, there are certain things that really capture the feel of the season and make you want to stop and reach for your camera. And that’s exactly what we want to celebrate in this year’s photographic competition.

“Our theme is Signs of the Seasons. So get out into the summer with your cameras during the next few weeks, but also check through your camera galleries for shots that you might have taken in winter, autumn or spring because we want photographs that really show the beauty of the British countryside right through the year.”

John then explained: “From all the entries received, 12 photographs will be selected to star in the Countryfile calendar for 2027. All in support of BBC Children in Need.

“Once all the entries are in, a panel of judges will choose the winning photos to appear in the Countryfile calendar 2027, sold in aid of BBC Children in Need. And then the overall winning image will be chosen by you, the Countryfile viewers.

“Not only will that picture feature on the cover of the calendar, but the winner will also get a £1,000 gift card to spend on photographic equipment of their choice. And whoever takes the judge’s favourite photo will receive a gift card for £500 to spend on their choice of photographic equipment.”

After explaining the terms and conditions, and how to apply as well as find out more information, John ended his segment with: “So now it’s over to you. The very best of luck, and we can’t wait to see your Signs of the Seasons.”

Taking to social media to respond to the show update, one person said: “Looking forward to entering!” with a hands up emoji to which another account shared heart emojis over the announcement.

Meanwhile, another show watcher quipped: “Blimey! I swear the #Countryfile Calendar competition comes round earlier every year! Better get the sprouts on!” to which a different viewer joked: “Christmas tree up!”

Countryfile airs on Sundays on BBC One and BBC iPlayer

John L Esposito, a prominent scholar of religion and international affairs at Georgetown University, passed away on July 15, 2026, due to complications from heart surgery.

He was a towering intellectual who published more than 55 books, mainly with Oxford University Press, which have been translated into dozens of languages. He uniquely shaped the modern study of Islam and Muslim societies during the late 20th and early 21st century, particularly in the area of Islam-West relations during key moments of friction following the 1979 Iranian revolution and 9/11.

John was born into a working-class Italian-American family in Brooklyn, New York, in 1940. His worldview was shaped by his devout Catholic mother and his father’s commitment to social justice. He aspired to become a Catholic priest and, at a young age, joined the strict Capuchin Franciscan Order. John left the seminary before ordination and opted for graduate school instead. He earned a doctorate in religious studies at Temple University under the supervision of Ismail al-Faruqi, the late Palestinian-American scholar of religion.

John’s family and friends questioned his career choice because they feared for his employability. When he entered the job market in 1974, there was only one advertised position in Islamic studies. The study of religion, particularly Islam, was absent in many institutions of higher learning, and international relations programmes at universities ignored the role of religion in global affairs.

Telling stories was one of Professor Esposito’s many passions. Reflecting on his career, he frequently joked that he owed his livelihood to two famous “radical” Muslims, one Shia and the other Sunni: Ayatollah Khomeini and Osama bin Laden.

After the 1979 Islamic revolution in Iran, interest in the relationship between Islam and politics skyrocketed in the West. The same happened after 9/11. John’s expertise was suddenly in high demand. He responded by publishing several groundbreaking books on the relationship between Islam and politics, Islam’s normative ideals, Islam-West relations, and the diverse political and social structures of Muslim societies. He was frequently quoted in the media, and governments now sought his counsel.

This story about John’s career, however, has a steep downside.

The Western interest in Islam and Muslims emerged due to threats to United States national security. This meant the ability to understand this topic in a free, unbiased and independent way was absent for most Westerners. The enveloping context that shaped the policy and public debate on Islam and Muslims was themes of political revolution, mass violence and perceived threats to global order.

John’s educational efforts were always an uphill battle. Establishment academics dominated the intellectual, policy and media debates. Bernard Lewis wrote about the alleged “Roots of Muslim Rage” at modernity that purportedly explained turmoil in the Middle East. Around the same time, Samuel Huntington advanced a popular thesis on the “Clash of Civilizations”. These views had a wide following, in part because they reinforced pre-existing Western biases about Islam and Muslims. They were further enhanced by US and Israeli national security narratives about an alleged Islamic threat in the aftermath of the Cold War.

John was an early and courageous scholar who challenged Orientalist misrepresentations of Islam and Muslims in an era of deep polarisation. His scholarship created room for understanding in lieu of prejudice, and his intellectual insights allowed a younger generation of scholars to build on and expand upon his pioneering research.

Professor Esposito advanced a new understanding of religion by criticising the dominant social science theories about political development. He astutely drew attention to a “secular bias” that informed mainstream intellectual debates in the West on the relationship between religion and politics. These modernisation theories purported to be universally applicable based on the assumption that religion was a relic of the past that no longer mattered in the modern world. In truth, these claims were ideologically biased, based on a set of specifically Western experiences.

By contrast, John interpreted the politics of the Muslim world not from a Western normative framework but rather from the Muslim world’s own experience. In other words, not from the outside in, but rather from the bottom up, from the perspective of the masses, many of whom held onto a religious identity.  In doing so, he advanced a historically grounded and sociologically compelling analysis of religious politics in the Islamic world. Critiques of the legacy of colonialism, authoritarianism and US foreign policy were central to his intellectual work.

Professor Esposito’s work on political Islam was pioneering. He wrote about the social conditions and collective aspirations that rendered political Islam appealing to diverse constituencies across the Middle East and the broader Muslim world. While most mainstream Western scholars and liberal intellectuals focused on the Islamist desire to implement “Sharia”, Esposito focused on the core aspirations that animated political Islam: dignity, justice, self-determination, and opposition to external domination. These same aspirations made political Islam a resilient and enduring force.

In reflecting on John Esposito’s legacy, I’m reminded of an observation by Edmund Burke III. Commenting on the work of the late Marshall GS Hodgson, author of The Venture of Islam: Conscience and History of a World Civilization, Burke noted that Hodgson, like Esposito, refused to view Islam as the “other”. Instead, he understood the Islamic tradition as “a venture alongside others that marked human efforts to bring about a just and moral world”.

We are unlikely to see a scholar in our lifetime again who can match John Esposito’s moral and intellectual caliber. His impact on our collective education and understanding of Islam-West relations is unique and immeasurable. Those who care about universal values rooted in international law, human rights, democracy, and cross-cultural understanding are deeply in his debt.

John Esposito is survived by his wife of 61 years, Jean Esposito, his partner and primary supporter in all his endeavours, and the enduring love of John’s life.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial policy.

Don Iwerks, an Academy Award-winning special effects pioneer whose innovations transformed film and Disney theme parks, died peacefully Thursday at the age of 96, the Walt Disney Co. announced.

For Disney and his own studio, Iwerks Entertainment, Iwerks helped develop technologies and techniques like Circle-Vision, the 360-degree camera behind “America the Beautiful” and other early Disney attractions, and the 3-D effects used in attractions like Captain EO and the Star Tours ride.

“There was a ‘can-do’ attitude I learned from Walt and my father,” Iwerks said, according to a statement shared by the Disney Co. “Walt gave everyone a feeling that they were creating things that others had never thought of before, of being a part of history.”

Born July 24, 1929, Iwerks received his first camera at age 14 as a gift from his father, animator Ub Iwerks.

The elder Iwerks met fellow artist Walt Disney when both men were teenagers working at a Kansas City, Mo., art studio. They would go on to work together at the Disney Brothers Cartoon Studio, where Iwerks designed and animated “Plane Crazy,” the first Mickey Mouse cartoon.

After a stint at his own animation studio, Ub returned to Disney as a special effects engineer, pioneering techniques like the 360-degree motion-picture camera.

“He was absolutely my inspiration because he was technically minded. He made my childhood and formative years one of the greatest times of my life,” Don Iwerks told The Times in 1998.

The Iwerks family moved to the San Fernando Valley in 1936, where Don graduated from Van Nuys High School in 1947.

He served as a photographer in Germany during the Korean War and joined his father at Disney following his 1952 discharge from the U.S. Army. An allergic reaction to chemicals used to develop film led to his transfer to the company’s Studio Machine Shop, where he spent the next 34 years.

Don spent three months in the Bahamas manning underwater cameras for the 1954 Disney film “20,000 Leagues Under the Sea.” He then worked as the camera technician on “A Tour of the West,” an original Tomorrowland attraction at the soon-to-be opened Disneyland. The immersive 360-degree film was shot on the Circarama camera system his father invented.

Together, Don and Ub developed technologies like the “endless loop” system that enabled a single film print to run for up to 10,000 performances with minimal intervention and refinements to the photography processes used in “Mary Poppins” (his favorite of the Disney films) and other movies.

His own hands were used as the model for those of the Abraham Lincoln Audio-Animatronics figure in “Great Moments with Mr. Lincoln,” which opened at Disneyland in 1965. The “Iwerks Hands” now appear on similar figures at Disney parks around the world, according to his family.

In 1986, he co-founded Iwerks Entertainment, which soon became a major player in the film and theme park industries. The company specialized in large-format films and created the 3-D projection system used in the Terminator rides at Universal Studios parks in Hollywood and Florida.

His innovations were honored with the Academy of Motion Picture Arts and Sciences’ honorary Gordon E. Sawyer Award and an Academy Scientific and Technical Award, among other prizes.

“It’s very obvious that computers are playing a big role in motion pictures today. The digital technology in film is able to put elements of scenes together on a film and have them look lifelike. It’s hard to know where that will go,” Iwerks said in a 1998 interview.

“My view is that technology should support a good story and add to it. Technology for technology’s sake?” he said with a shrug. “You still need good films.”

Iwerks is survived by his wife of 54 years, Betty; his sons, Larry and John; John’s wife, Chris; his daughter Leslie, and great-nephew,Mike, both of whom have also worked for Disney, according to an obituary shared by his family. His daughter Tamara preceded him in death.

“Like his father, he was a humble genius, a consummate problem solver, and delighted in sharing knowledge, encouraging others, and approaching every challenge with confidence and grace,” his family said in the statement from Conejo Mountain Funeral Home in Ventura.

Both Don and Ub Iwerks are commemorated in a storefront window on Main Street U.S.A. in Disney World’s Magic Kingdom. Located above the Main Street Bakery, the window is a lasting tribute to a family who made some of the park’s magic possible.

“Iwerks-Iwerks Stereoscopic Cameras,” the lettering reads. “No Two Exactly Alike.”

John H. Rousselot, the conservative Republican who represented part of the San Gabriel Valley in Congress for 14 years, was an officer of the John Birch Society and who tried to buy Charles H. Keating Jr.’s failed Lincoln Savings and Loan Assn., died Sunday. He was 75.

Rousselot, of Mission Viejo, died at Irvine Medical Center of congestive heart failure, said his son, Craig. He said his father had suffered a heart attack a year ago.

A glad-hander and energetic campaigner, Rousselot was controversial and colorful as he surfed the changing waves of political power as public relations expert, legislator or lobbyist.

He first gained office in 1960 when he ousted incumbent Democratic Rep. George Kasem in the 25th District. But he was so outspoken in defending the right-wing Birch Society, which he had just joined, that he failed to win reelection. In 1970, he was returned to Washington for half a dozen two-year terms in the 26th District, which included his native San Marino.

The congressman’s elective status ended in 1982 after redistricting threw him into a new 30th District, stretching from Bell Gardens to Azusa. Too long out of office and tainted by his association with Keating, Rousselot failed in a 1992 comeback campaign for the 25th District.

In Congress, Rousselot became active on the Banking and Currency Committee, and later the Economic and Budget and Ways and Means committees, where he staunchly opposed spending and tax increases, proposed cuts in the food stamp program, and worked for deregulation of the savings and loan industry. He also advocated U.S. military occupation of Cuba two years before the Cuban missile crisis.

As then-Atty. Gen. Robert F. Kennedy and others criticized the Birch Society in the early 1960s, freshman Congressman Rousselot defended the group: “They are calm, firm, dedicated people who are merely trying to inform themselves about communism.”

If Kennedy read the group’s “blue book,” Rousselot told The Times in 1961, he’d know that “one of the main purposes of each chapter is to keep its members and guests who attend fully informed as to the nature, purpose and intent of the Communist conspiracy in this country.”

First turned out of Congress in 1963, Rousselot was named regional director of the Birch Society — heading the group in California, Oregon, Washington, Arizona, Nevada and Idaho from an office in San Marino. He also served as national Birch Society public relations chairman. In both positions, he continued to insist that the organization’s purpose was to educate rather than advocate or indoctrinate.

But Rousselot resigned from the Birch Society with characteristic drama on April 17, 1979, when he was contemplating running for the U.S. Senate [he didn’t], “to demonstrate to the citizens of California that I am my own man, controlled by no organization or individual.” He also said that he had become disillusioned because Birch Society founder Robert Welch had besmirched President Eisenhower as a Communist agent and Winston Churchill as a traitor.

After Rousselot left Congress, he was in the Reagan White House as special assistant for business matters, then served as Western states coordinator for Reagan’s 1984 reelection campaign.

From 1985 to 1988, Rousselot was president of the National Council of Savings Institutions, a Washington-based lobbying group for banks and savings and loans. In addition to deregulation he worked to enable savings institutions to expand their business beyond mortgage lending.

In 1989, after lobbying for Keating, Rousselot was named the final chairman and chief executive of Lincoln Savings and Loan. With four others, he tried to buy the institution shortly before it was shut down by federal regulators who said that its assets were dissipated. Critics alleged that the attempted purchase was a scheme to delay the federal shutdown in the largest thrift collapse in U.S. history.

“I did nothing illegal, improper or unwarranted,” Rousselot told The Times a few years later.

Nevertheless, in 1993 his former association with the scandal-plagued thrift forced Gov. Pete Wilson to withdraw his appointment to the California Board of Prison Terms when legislators refused to confirm him.

John Harbin Rousselot was born Nov. 1, 1927, in San Marino and majored in political science and business administration at Principia College in Elsah, Ill.

In the 1950s, he established a public relations firm in Los Angeles and became president of the California Young Republicans.

From 1958 to 1960, when he resigned to run for Congress, he was national director of public information for the Federal Housing Administration.

Twice divorced, Rousselot is survived by his son, Craig of Irvine; two daughters, Robin Edwards of Lake Forest and Wendy Sirugo of San Dimas; a brother, Norman of Sonora, Texas; and five granddaughters.

A public memorial service will be planned at a later date.

JOHN Bishop has revealed that he and wife Mel have secretly renewed their wedding vows after “tough times’ in his marriage.

The comedian, 59, admitted that his marriage had “failed” and “everything had gone s***” before he found a particular musician that helped him heal the problems in his relationship.

John, who has been married to Mel for 33 years, said he really connected to artist David Gray’s music during his lowest times.

Speaking on stage at Silver Clef on Thursday, John said: “Tonight I could never imagined that I’d get the opportunity to say thank you to this artist.

“My marriage had failed, everything had gone s*** and like most men I had no-one to talk to, and the magic of songs is that you listen to them and you hear what that artist is feeling and you hear what that artist thinks of the world.”

John said he was introduced to the singer’s 1998 album White Ladder, which is David’s fourth studio album.

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The stand-up comic said that the Babylon singer became a “constant part of his life” and pulled him through some difficult times.

John continued: “Somebody gave me White Ladder and I listened to it and I realised sometimes there’s an artist that sings songs that tells you what you are thinking and feeling of the world, so when I was at my lowest I was introduced to David Gray and he’s been a constant part of my life ever since.

“I would say 90 per cent of the gigs that I do afterwards I get in the car, I put my headphones on and I listen to David Gray.”

John then dropped the news that he secretly renewed his wedding vows with Mel and even played one of the artist’s biggest tracks, Sail Away

“He [David] was there at the lowest point of my life but then when me and my wife reconciled and then went on to renew our wedding vows we played Sail Away as we walked down the aisle,” John added.

“He’s been there at the highest point of my life.”

John married Melanie in 1993 and they had three boys — Joe, now 29, Luke, 27 and Daniel, 25. But the stresses of life led the couple to split up for 18 months — and they almost signed their divorce papers in 2000.

While performing at an open night, John made a gag about missing his soon-to-be former wife so much that he kept her “severed head in the fridge”.

But unbeknown to the Liverpool-born comedian, she was right there in the audience.

The remarkable tale of John’s stand-up career and marriage inspired a movie directed by Hollywood star Bradley Cooper, which was released in January.

John said about his marriage: “There was no huge fight or a revelation about someone else. We just grew apart.

“Maybe it had something to do with having three kids so quickly.

“For six years there was always someone in the house in nappies. Our marriage just faded.”

Feeling “depressed”, he went to the Frog And Bucket Comedy Club in Manchester, which has helped launch the careers of acts including Peter Kay and Jack Whitehall.

He did not want to pay the £4 entrance fee, so put himself down on the list of comedians for the open mic night.

John recalled: “I clambered up on stage, picked up the microphone and thought, what on Earth am I doing here? I had no jokes, and ­absolutely no material. I just talked about life.”

The audience laughed as he riffed on his marriage woes, so John was invited back to perform again.

One of the routines would make the audience go, “Aww!” — when he spoke about splitting up from his wife. He would then tell them: “Don’t worry, we haven’t divorced — I’ve just killed her.

“But I knew I would miss her so I’ve kept her head in the fridge for three months.”

Melanie turned up with ­workmates for one of those gigs in 2000, and when John saw her ­afterwards he started to apologise for his jokes.

To his surprise, she said: “The man I saw on stage was the man I married. Where did he go?”

The couple went for marriage counselling at Relate and are still together today, 25 years later.

John said: “The pain we had in our relationship, it sounds cliched but it made us stronger.”

It then took John another six years to give up his job in pharmaceutical sales in order to become a comedian full-time at the age of 40.

The decision was the right one because he is now one of the nation’s most popular funnymen.

John Slattery was jet-lagged in Budapest late one night after a day of shooting the 2025 drama “Nuremberg” when his old “Mad Men” co-star and friend Jon Hamm texted him with the kind of pitch that would send many actors sprinting in the opposite direction.

Would he be willing to play an out-of-work version of himself who hadn’t had a gig in a decade and was shamelessly coasting on his “Mad Men” fame?

Reading the script for “Gail Daughtry and the Celebrity Sex Pass” through the haze of fatigue, Slattery fixated on that one detail: “Hasn’t worked in 10 years, huh?” he recalls by phone from his home in New York. “I had to go: Wait a second. Let me IMDb myself.”

As it happens, the 63-year-old Slattery — best known for his four-time Emmy-nominated turn as the silver-haired ad executive Roger Sterling on “Mad Men” — has racked up some 30 film and TV credits since that show ended in 2015. Still, he says he was happy to detonate his cool, unflappable persona in the latest comedy from “Wet Hot American Summer” and “Role Models” filmmaker David Wain.

The gleefully unhinged “Gail Daughtry,” which premiered earlier this year at Sundance and opens Friday, casts Slattery as a washed-up version of himself who is enlisted by a Midwestern woman (Zoey Deutch) who flies to Los Angeles determined to cash in on a celebrity sex pass with Hamm after discovering her fiancé cheated on her with Jennifer Aniston.

For Slattery, what begins as an exercise in comic self-demolition gradually becomes the movie’s biggest surprise, with the actor turning a desperate, delusional version of himself into its most unexpectedly lovable character.

From left, Miles Gutierrez-Riley, John Slattery, Ben Wang, Ken Marino and Zoey Deutch in the movie “Gail Daughtry and the Celebrity Sex Pass.”

(Sundance Institute)

Speaking with The Times, Slattery reflected on cheerfully becoming the butt of the joke, why broad comedy is anything but easy and what it’s like navigating Hollywood at a moment when fading away feels a little less far-fetched than it once did.

Actors spend years building a certain cool image, but within seconds of appearing onscreen in this movie, you’re whining, farting and generally making an ass of yourself. What appealed to you about that?

I never considered it risky. Not that it was foolproof, but it was just such a silly idea and I was a fan of David Wain and those guys anyway. These kinds of comedies take skill and experience. I mean, you have to be really smart to make a movie this stupid.

You’re always looking for something that’s different and this was such a funny way to depart from myself — ironically, by playing myself. It seems like the wildest character I’ve played in a while, and it’s me. I thought: What kind of research am I supposed to do? Am I supposed to watch myself and imitate myself? But there was really nothing to do. You just learn the lines and show up.

Was there ever a moment where you thought: This is either going to be really funny or the end of my career?

I didn’t have that feeling on this. There’s nothing funnier to me than a confident moron. My favorite thing in the world to watch or try to do is somebody who has full confidence in their idiocy.

I’m not somebody who dives into the deep end right away. First I want to know I can trust the people in charge of what I’m about to deliver to them. If I do all this, whose hands am I leaving it in? With David, that wasn’t even a consideration. He’s just so good at what he does, and that gives you permission to just go all in.

Have you always been able to laugh at yourself or is that something that’s gotten easier as you’ve gotten older?

I come from a large family of piss-takers. They’re all really good at ball-breaking and really funny. My mother had six kids, and all her brothers had five or six kids. I had a million cousins, and they will shred you. Somebody would always knock your feet out from under you if you took yourself too seriously.

John Slattery and Jon Hamm in a scene from the AMC drama “Mad Men.”

(Frank Ockenfels / AMC)

Every successful actor probably has a nightmare that one day the phone stops ringing and you’re coasting on fading glory. Did you ever have that feeling after “Mad Men” ended?

After going through COVID and the strike and directing an independent movie [2023’s black comedy “Maggie Moore(s)”], which doesn’t pay very well, I hadn’t acted in a while. I was like: Oh, I wonder if this is going to continue. I don’t know.

The business has contracted. It seems like there’s an endless list of titles on every streaming menu, and yet they’re making less and people are struggling. So I’m glad to be working. I’ve had a pretty lucky run of late and I’m not taking it for granted.

At this point in your career, what makes you say yes to something?

Money. [laughs] No, it’s really the same as it’s always been. You always want a big, fat, juicy part, but sometimes it’s just a functioning part in a really good story.

You kind of roll with the punches. You do something, you have some success with it and then you get a lot of offers for things that are a lot like that. If that’s all that comes in, you pick the best one and keep going. People say, “Well, it’s not ‘Mad Men.’” And you go, “Well, what do I need to do that again for? I did that.”

This is a perfect example of something that’s every bit as interesting and fun in a completely different way. If they could all be like this one, I could die tomorrow. You want them all to be this fun, because they’re not. Sometimes you’re stuck in a courtroom all day and it’s pretty dry. This was anything but that.

Hollywood feels like a deeply anxious place right now. You’ve worked through a lot of different eras of this business. How does this moment compare?

I have a job coming up, so that’s always hopeful. Having just come off something, and knowing you’re about to do something else, gives you a sense of security. But there’s definitely a palpable anxiety. You hear it when people get jobs: “Thank God.” Or, “It’s about time.” Or, “I don’t care what it is, I’m going to do it.”

I was listening to Taylor Sheridan recently talking about how people who don’t tell stories are governing the telling of stories. That’s more than disconcerting. And now AI is the overlord of all that. It’s very strange.

It’s always been a youth-oriented business. There are definitely more movies about people who are 27 than people who are 63. Maybe it all kind of shakes out. I don’t know. Sometimes I wish it were 1943 and I was in a suit playing a detective.

I would watch that movie. Meanwhile, Hollywood doesn’t make many broad theatrical comedies like this anymore. Why do you think that is?

I don’t know why the studios have given up on comedies in movie theaters. They used to be the thing, right? Those big Will Ferrell movies were huge moneymakers.

Maybe this will turn the tide. When you think about the condition of the country right now, and how pissed off and divided everybody is, you roll out this silly, smart-but-stupid comedy, and it seems like the perfect amelioration of everybody’s anxiety. Go get some popcorn and laugh your ass off. You’ll feel better.

In 2012, when Mark Walter and his partners bought the Dodgers, team president Stan Kasten declared mediocrity would no longer be acceptable.

Would the Dodgers improve their minor league system? Yes. Would the Dodgers improve their major league roster? Also yes. Would spending in one area preclude spending in another? Absolutely not.

“These fans expect and deserve a team that can win,” Kasten said then.

So do Angels fans. For the first time this decade, with the arrival of John Mozeliak as interim general manager, they have legitimate hope.

Mozeliak, whose St. Louis Cardinals teams reached the playoffs more often than not in his 18 years running baseball operations there, is here to end baseball’s longest postseason drought, or at least steer the Angels in that direction.

At first, I was shocked to hear him say he does not believe the Angels need to rebuild. Under owner Arte Moreno, the Angels have resisted rebuilding, preferring to add lower-tier free agents and rush college players to the major leagues in an effort to field a competitive roster. That has failed: For the first time in franchise history, the Angels could finish in last place for a third consecutive season.

But, when Mozeliak and I sat down in the Angels’ dugout the other day, he explained that the path forward in Anaheim should not be tanking. It should be acting like the major-market team the Angels are — and were, during Moreno’s first decade of ownership.

“The one thing you have to realize about the Los Angeles Angels is: they do have resources,” Mozeliak said. “From Mr. Moreno to the market size, this is a place that could be a very, very special place.”

In Moreno’s first decade, under Bill Stoneman and Mike Scioscia, the Angels were a player development machine. In 2003, in his first winter as owner, Moreno signed the best position player on the free-agent market in Hall of Famer Vladimir Guerrero and the best pitcher on the market in four-time All-Star Bartolo Colon.

The questions Mozeliak asks and answers now are the same ones Kasten did with the Dodgers. Can the team deploy resources to upgrade scouting and player development? Yes. Can the team do the same with the major league roster? Also yes.

“There are many franchises in the game of baseball that cannot do that,” Mozeliak said. “They have trade-offs. They have to make a decision: If I’m going to give you $20 million for your infrastructure, that’s $20 million less for your payroll.

“This place is different.”

The Dodgers parallel only goes so far. Walter and Kasten inherited a core of Clayton Kershaw, Kenley Jansen, Matt Kemp and Andre Ethier. Mozeliak will work with Mike Trout and a long-touted “young core” that has shown by now it is not the foundation of a championship-caliber team.

No one expects Moreno to spend like the Dodgers do (and even Walter’s fellow owners want a salary cap in an attempt to stop the Dodgers). Yet, in St. Louis, Mozeliak built winners without the Cardinals owners ever paying a luxury tax.

The first step in revitalizing the Angels comes Saturday, in the draft.

“We’re going to take the best available player,” Mozeliak said.

Mozeliak said he is not interested in two recent Angels trends: paying less to a first-round pick in order to spread the savings around longer shots in the lower rounds, or targeting a polished college player in part because he could get to Anaheim in a hurry.

“I’m not wedded to a high school player or a college player,” Mozeliak said. “I want the best player.”

The second item on the agenda: the Aug. 3 trade deadline, which would afford Mozeliak the opportunity to collect prospects for such players as pitcher Reid Detmers and Jose Soriano and outfielder Jo Adell.

In 2020, Moreno nixed a trade that would have brought Andy Pages – then a Dodgers prospect, now an All-Star – to the Angels.

In 2023 and 2024, Moreno rebuffed trade offers for Shohei Ohtani that could have returned the likes of Junior Caminero or Jackson Merrill. No player of that caliber would be coming in return for what the Angels have to offer now.

Mozeliak said the Angels should not consider a trade proposal in isolation, without considering how to flex their major-market muscles to fill whatever hole a trade might create.

“If we understand what we’re doing today can help make us stronger tomorrow, and then look at potentially what we could do on the free-agent market,” he said, “that should be something we are doing in parallel thinking.”

Mozeliak said he does not believe any player should be untouchable. As if on cue, Trout walked by.

Trade Trout? That’s not happening, right?

“That’s not happening,” Mozeliak said.

In his hours of conversations with Moreno, Mozeliak said, the topic of whether the owner might sell the team “never came up.”

Does Moreno appear interested in staying for the long haul?

“Absolutely,” Mozeliak said.

Mozeliak said he had presented Angels President Molly Jolly with a 100-day plan for what the team calls a consulting role: run baseball operations on an interim basis; do a deep dive into how the Angels do things now and how they can do them better; recommend a new general manager. Maybe he stays in that role, or in a supporting role, or he simply leaves when his contract expires in December.

“I’m certainly confident in what we need to do, and I’m certainly confident this is a market that could be amazing,” he said. “It’s exciting times for me. I’m energized.

“I’m smart enough to know that one person cannot change everything. But one person can begin change, and that’s what I’m going to start to do.”

Distinguished executives, including the likes of Dave Dombrowski and Andrew Friedman, have wanted no part of the Angels. Then again, Mozeliak is only committed for six months. If Moreno does not do what Mozeliak believes should be done, and if Mozeliak is not allowed to begin that change, he can just walk away.

“I think I have that authority,” Mozeliak said, “and I think he understands that he can embrace change, because that is what is going to be required.”

Based on Moreno telling you that?

“Yes,” Mozeliak said.

The last time the Angels hired an experienced general manager from outside the organization: 35 years ago, when they also looked to St. Louis for Whitey Herzog. That didn’t work. Herzog won a power struggle in the front office, then quit anyway, amid disputes with ownership.

This might work, or might not. But think back to 2020, when then-Angels president John Carpino said this: “Obviously, we’re not doing it the right way. We’re not winning games. So something is not right in our organization.”

Carpino retired in April, without ever explaining what was not right in the organization or, based on the standings, repairing it.

Jolly replaced him and, within two months, secured Moreno’s approval to hire the architect of a World Series championship team to figure out what was not right in the organization, and to fix it.

In one bold step, the Angels admitted they had a problem and set out a path to remedy it. With three months to go in this wretched season, the MVP of the 2026 Angels is abundantly clear: Molly Jolly.

LISA Faulkner and John Torode have been dealt another blow following her breast cancer diagnosis earlier this week.

The TV couple have reportedly learned that their cookery show, John & Lisa’s Weekend Kitchen, has been shelved after ten series.

Amid ongoing budget cuts at ITV, the show is notably absent from upcoming schedules.

According to The Mirror, the couple remain hopeful that the popular cookery programme could return to the channel at a later date.

An insider told the publication: “John remains a regular contributor to This Morning, where he has been fully supported by everyone, including hosts Ben Shephard and Cat Deeley.

“The truth is there are no current plans for series 11 of Weekend Kitchen but no final decision has yet been made over whether it will return in the future.

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“And John is very much a part of the ITV family through his role as a regular chef on This Morning.”

ITV confirmed that no final decisions have been made yet regarding the future of the show.

The news comes after John suffered a major career setback last year when he left MasterChef.

An inquiry, ordered by MasterChef’s production company, upheld a claim that the chef had used an “extremely offensive racist term”, which he said he had “no recollection of”, and he subsequently departed the show.

His wife Lisa announced her shock cancer diagnosis on Thursday, revealing that she had already undergone surgery and was awaiting a course of radiotherapy.

Lisa is best known for her acting roles in shows including Holby City and EastEnders, and in recent years has carved out a successful career as a TV chef.

She won Celebrity MasterChef in 2010 before going on to front John & Lisa’s Weekend Kitchen alongside her husband.

JOHN Torode’s wife Lisa Faulkner has given fans an emotional update after revealing her shock breast cancer diagnosis.

The 54-year-old announced the news on Thursday and divulged that she had already undergone surgery and will be moving onto a course of radiotherapy.

She took to her Instagram stories today to thank her fans for all of their support over the last 24 hours.

Lisa penned: “Thank you for all of your support and your lovely messages. i promise I will read every word.

“So many of you going through this or someone who is. Your love and kindness has really touched me and I thank you from the bottom of my heart.”

The former EastEnders actress told her fans yesterday why she’d been quiet on social media.

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She divulged: “I know I’ve been very quiet on here, reason being I have had to have surgery for the early stages of breast cancer.

“I had surgery two weeks ago, it was quite a big op but it’s all good and I’ve my results back and they’ve got everything out.

“So it’s all clear and I just need now to have some radiotherapy in a few weeks.

“I just wanted to say I’ve got a bit of healing to do but I’m good. I’m well and feeling so much better and I’m so grateful I went for my mammogram.

“I just wanted to say don’t put them off, go, because they found this and without that mammogram it wouldn’t have been picked up.

“Thank you to our wonderful NHS and the fact we can have these mammograms and we can get treatment early.”

Within moments of her sharing the difficult news, Lisa was inundated with support from her famous pals and followers.

Actress Tamzin Outhwaite said: “Love you Lise. You’ve got this my darling.”

Another added: “Sending so much love your way, lovely xx.”

Before a third said: “Sending love and hugs.”

Lisa is best known for her various acting roles and in recent years has become prolific as a TV chef.

Her famous telly husband John Torode has yet to comment on the gutting news about his partner.

It is the latest in a long line of blows for John who was sacked from his role on MasterChef following an investigation at the BBC.

He was given the boot from the programme following an investigation which was launched based upon the conduct of his co-star, Gregg Wallace.

SIR Elton John has signed a multi-million pound deal for an un- limited residency in Las Vegas — as a hologram.

The pop superstar, 79, will be immortalised using cutting-edge tech so fans can enjoy his live performances for decades more.

Elton, whose sight is failing, retired as a touring artist in 2023, but is still set to appear at special one-off gigs.

Dua Lipa, 30, who had No1 song Cold Heart with Elton in 2021, will also appear as part of the residency.

So will Kiki Dee, 79, who topped the charts with Elton with Don’t Go Breaking My Heart in 1976.

The immersive experience is set for the new Hard Rock Hotel, opening next summer.

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Elton is booked to film his performances with Dua and Kiki at Pinewood Studios, Bucks, this autumn.

A source added: “Elton, Dua and Kiki will be holograms. It’s similar to the Abba Voyage show in London, but far more advanced as the technology has come on so much.

“Elton signed a seven-figure deal with Hard Rock. It’s a shift away from a traditional residency and is billed as a fully immersive experience.

“It’s going to look phenomenal.”

It’s no joke: John Oliver of HBO’s “Last Week Tonight” is checking into “General Hospital,” the ABC soap opera.

The host of the weekly series that takes sharply comedic aim at government and institutions announced during his June 28 episode that he will appear on the daytime soap “General Hospital” on July 2, 3 and 6. No details about his role were revealed except that it will be a “substantial guest role.”

And that’s not the only soap he’ll be in this summer. He will also have a role on “Days of Our Lives,” streaming on Peacock, on Aug. 11, 12 and 14.

The appearances are the culmination of Oliver’s pleas to soap opera producers during the March 8 installment of his show that they consider him for a part. An unapologetic devotee of the outrageous antics and high melodrama which characterize the genre, Oliver said, “Write me a role and I will be on your set so fast it will make your head swim.”

In a statement, Oliver celebrated the realization of his dream: “‘General Hospital’ was everything I hoped it would be. It’s a true honor to be a small stain on the history of this illustrious show.”

The series’ executive producer Frank Valentini said in a separate statement that Oliver made an offer they could not refuse.

“When John Oliver publicly threw down the gauntlet and said he wanted to appear on a soap, we didn’t hesitate for a second,” he said. “He was everything you’d hope he’d be: prepared, professional, funny, and genuinely kind to everyone on set. He plays an integral character in the story, and I can’t wait for fans to see who he crosses paths within Port Charles.”

“General Hospital,” which airs weekdays on ABC and streams on Hulu, is in its 64th year and stands as the longest-running American soap opera currently in production.

On the March 8 episode, Oliver said he was jealous of celebrities such as Katy Perry, Snoop Dogg and Smokey Robinson who would pop up on various soaps. He was particularly envious of sports pundit Stephen A. Smith who has had a recurring role on “General Hospital,” playing a shady figure known only as “Brick.”

Oliver made it clear that he was not interested in a brief walk-on playing himself. He wanted to play a character, and have a “juicy role” that involved murder or “slapping.” He also required that there be a close-up of his face.

John Mozeliak is in Anaheim for one clear-cut reason: to set the foundation for the Angels to get back on track.

At his introductory news conference at Angel Stadium on Saturday, the team’s new baseball operations consultant and interim general manager laid out his vision for success — while acknowledging recent woes — alongside Molly Jolly, one day after the first-year Angels president relieved general manager Perry Minasian of his duties amid his sixth straight losing season.

“Obviously, [the Angels] lacked consistency in terms of when you think about winning, right? Because that’s the proxy,” Mozeliak said. “There’s a lot of things we can use to determine if the organization is healthy or not. … Where Molly and I are connecting on this is like, we understand wins and losses matter, but how do you get to a place where that becomes consistent?

“Look at the best clubs in baseball [and] what you admire; whether they’re large-market or small-market, they have a philosophy, they have direction, and they stick to it, right? … That’s ultimately what we need to do here, and that’s hopefully something I can help bring to them.”

Mozeliak spent 18 seasons (2008-25) as general manager of the St. Louis Cardinals, a tenure consisting of 10 playoff appearances and a World Series victory in 2011.

The 57-year-old intends to “audit” the Angels in this new role alongside Jolly, with plans to hire a general manager by the time Mozeliak’s contract is up “sometime in December.”

“I brought on board John Mozeliak to assist me in preparing a baseball operation strategy as well as guide me in the search for a new general manager,” Jolly said, mentioning that her decision to fire Minasian and bring in Mozeliak had brewed for weeks.

“I did this because John has a proven track record of building and maintaining winning baseball cultures, and my goal is to bring that here to the Angels.”

Mozeliak didn’t rule himself out as the long-term answer at general manager and was emphatic about not speaking in absolutes. However, the longtime executive said he’d rather help Jolly “bridge the gap” during the Angels’ transformative period before anything else.

The Angels have plenty of gaps entering Saturday’s matchup with the Athletics. The Angels are tied for last in the American League with a 34-49 record while on the road to a 12th consecutive finish out of the playoffs.

And all of that is before mentioning the “sell the team” chants that flood the right-field upper deck at Angel Stadium at each home game oas ex-Angel Shohei Ohtani thrives with the Dodgers.

Mozeliak understands that the Angels have lacked direction in recent seasons. He asked for patience in rebuilding the team alongside Jolly.

“I knew coming in, this isn’t going to be something where Molly and I had a light switch and everything just starts working perfectly,” Mozeliak said. “It’s not going to work that way. … I would ask for some patience. We need a little time to sort of work through this … when we come out on the other end of this tunnel, we hope to be in a very successful place.”

Jolly said of Angels fans’ discontent, “I know what’s happening. I see it, I hear it. Fans have a right to have their voices be heard. Didn’t influence the decision that I wanted to make, but we all want to win. Our owner wants to win. I do. The fans deserve that, and that’s what we’re going to work toward.”

Mozeliak acknowledged he’d already forgotten some names of Angels personnel he was introduced to Saturday. But he also said that first-year manager Kurt Suzuki and the rest of the coaching staff’s jobs are secure through the season.

“I met with most of them this morning, and I told them they’re all fine for this year,” Mozeliak said. “There’s nothing they have to worry about. We’re not making any coaching changes right now. I really just need to get to know them, right?”

Mozeliak spoke to Suzuki on Saturday and said that he and his staff are “very impressive.”

Across the board, Mozeliak — who hasn’t yet met owner Arte Moreno since moving into this role — is focused on knowing who the Angels are at this point, with an “aggressive timeline” looming in the background.

With that said, Mozeliak shared that he isn’t “overly concerned” with the Aug. 3 trade deadline, nor is he worried about the MLB Draft, which starts July 11.

“My philosophy on the draft is to let the scouting director and his team do their jobs,” Mozeliak said. “The only real input I’m going to have is … understanding their process … and then if there are some financial decisions that are being banked into who we pick and why.”

Jolly brought in Mozeliak to help the Angels hire their fourth full-time general manager since 2012.

And while many might believe not much will change as long as Moreno remains the owner, Jolly said she has “autonomy” to assess the Angels’ baseball operations and is “confident in my authority and scope within the organization.”

Those invested in the Angels will believe it when they see it.

“When I think about the Angels right now, I just look at it as a very opportunistic time here,” Mozeliak said. “New leadership on the business side; we’re going to put a great team on the baseball side.

“But it’s going to be a place that I hope, in a couple years, we’re all proud of.”

GREENBELT, Md. — Former Trump administration national security adviser John Bolton pleaded guilty on Friday to illegally retaining classified information, sealing a deal with federal prosecutors that could allow him to avoid a prison term.

Bolton, who became an outspoken critic of President Trump after serving in the Republican’s first administration, is scheduled to be sentenced on Oct. 28 by U.S. District Judge Theodore Chuang in Greenbelt, Md.

Bolton pleaded guilty to a single count of illegally retaining classified information. His plea agreement with the Justice Department may enable him to avoid time behind bars, but the judge ultimately will decide his punishment.

The plea agreement recommends capping any prison sentence at five years but the judge isn’t bound by that part of the deal. Bolton can withdraw his guilty plea if the judge issues a longer prison sentence or a fine greater than $2.25 million.

Bolton was charged last October with 18 counts of either retaining or disseminating classified information, including diary-like notes that he shared with relatives as he wrote a memoir about his career in government.

Other Trump adversaries have been charged with federal crimes during his second term in the White House. While some of those cases have collapsed under judicial scrutiny and amid claims of political retribution, Bolton didn’t mount a vigorous defense against his charges before cutting a deal.

FBI agents searched Bolton’s Maryland home and Washington, D.C., office last August, but the investigation began before Trump returned to the White House in January 2025.

Bolton served for more than a year in Trump’s first administration before getting pushed out in 2019. He later published a book called “The Room Where it Happened” that presented an unflattering portrait of Trump’s leadership.

The Trump administration fought unsuccessfully to block the book’s release, claiming it contained classified information that could jeopardize national security. Trump derided Bolton as a “crazy” warmonger who would have led the country into “World War Six.”

Bolton’s indictment focused on notes that he shared with his wife and daughter rather than the contents of his book. After sending one document, Bolton wrote in a message to his relatives, “None of which we talk about!!!” In response, one of his relatives wrote, “Shhhhh,” prosecutors said.

Kunzelman writes for the Associated Press.

First, Scott McKenna was caught on the ball by Bournemouth forward Rayan and Vinicius Jr skipped past Angus Gunn to score.

Gunn and full-back Nathan Patterson were then caught under a Bruno Guimaraes cross as Vinicius Jr nodded in his and Brazil’s second before half-time.

And Manchester United’s Mateus Cunha made it three after the break on a night where Scotland huffed and puffed, but were ultimately outclassed.

“We lose poor goals at poor times against a team that can punish you with quality,” McGinn told BBC Sport. “We had a few chances but we’ve got to wait now.

“The lads are gutted, we fell short on quality but we gave it absolutely everything. The lads are empty now. It’s unlikely [that we qualify] but we’ll wait and see.

“It’s a bit raw at the minute but we appreciate the support of the fans, we know it’s difficult to be there. Hopefully the journey is not over and if we have to go again, we will go again.”