king

Tragedy and comedy make freaky bedfellows in “Oedipus the King, Mama!” This latest romp from Troubadour Theater Company turns the Getty Villa’s annual outdoor theater production into a Freudian carnival of psychosexual madness.

In “Lizastrata,” the troupe’s 2021 Getty Villa production, Aristophanes’ “Lysistrata,” the old political comedy in which women declare a sex strike to stop a ruinous war, and that singular showbiz sensation, Liza Minnelli, were merrily united in a lampoon with Bob Fosse flourishes. Here, Sophocles’ “Oedipus the King” and Elvis, the King of Rock ’n’ Roll, are brought together for an equally madcap if less artfully composed mashup.

The Elvis that storms into this ancient land known as Malibu is long past his prime. As impersonated by Matt Walker, the company’s director and comic frontman, he makes the late-career Las Vegas singer look like a spring chicken. Wearing a white jumpsuit adorned with rhinestones and a wig that looks as if some woodland creature had nested on his head, Walker’s Elvis has a bowlegged gait that suggests either a cumbersome protuberance or the early stages of rigor mortis.

There’s a younger version of the character, played by Steven Booth in a cartoon muscle suit and a tunic that makes it easy to flash the audience. But this exhibitionistic Oedipus is the star of the show’s unnecessary preface, a belabored warmup act that should have been cut in rehearsals.

The show feels overextended, as if 45-minutes of comic material had been inflated to fill out a 90-minute slot. The company’s commedia dell’arte-style shenanigans have a natural elasticity but farcical lunacy snaps when stretched too far.

The references to Southern California are unfailingly funny (this Oedipus claims to have started out as the crown prince of Temecula). But there’s something tired about an Elvis parody. The pompadour gag has lost its cultural shelf life. For the TikTok generation, it might as well be Thomas Jefferson who’s crooning “Hound Dog.”

The music still instantly captivates, even if whole swaths of the audience won’t be familiar with the original songs, impudently rewritten for the occasion. A version of “All Shook Up” is brilliantly deployed just as Oedipus is told the truth of his identity by Teiresias (Mike Sulprizio, outfitted to make the blind prophet look like a rejected member of the “Harry Potter” universe.)

How could any son not be shaken to the core after discovering that he not only killed his father but married his mother and sired his own siblings! That’s a lot to take in, as the cast routinely jokes. But denial buys time for a protagonist who’s too busy acting out his Oedipal fantasies to grapple with difficult realities.

The cast of “Oedipus the King, Mama!” at the Getty Villa.

(Craig Schwartz / J. Paul Getty Trust)

The object of Oedipus’ stunted affection is Jocasta (played by Beth Kennedy in a Priscilla Presley wig and the manner of a Southern ex-showgirl turned cougar). Kennedy not only steals the show but comes close to saving it. The comedy isn’t afraid to go low — poor mixed-up Oedipus isn’t yet fully weaned — but Kennedy’s Jocasta never loses her audacious, sexy-mama vivacity.

Rick Batalla, who plays Creon (pronounced crayon here), Oedipus’ straight-shooting brother-in-law, is another standout, eager to show off his own impish Elvis moves. The musical numbers are more elaborate than karaoke acts, but the volume is contained in deference to the Getty Villa’s neighbors, draining the staging of some of its theatrical power.

Scenically, the costumes of Sharon McGunigle and the puppet and prop design of Matt Scott do the heavy lifting. Walker’s direction has a grab-bag aspect, as if the invitation from the Getty Villa came too late to smoothly integrate all the moving parts.

Walker makes a jokey aside to that effect at the start of “Oedipus the King, Mama!” But no one’s complaining. The Getty Villa survived the fires and it can survive this jovial, if half-baked, Sophoclean circus. Levity is what’s needed now, and the Troubies are still funnier than anything AI could come up with, even if the joke is that ChatGPT had a hand in the script.

Late night has a new tone in 2025, and Greg Gutfeld is the one setting it, one unpredictable quip at a time. Rewriting the rules and bringing his signature acerbic style to “Gutfeld!” on Fox News, his show is drawing in more than 3 million viewers nightly, making it the most-watched show at the edge of prime time at 10 p.m. Eastern time / 7 p.m. Pacific time, airing over 90 minutes earlier than such hosts as Jimmy Kimmel and Jimmy Fallon

Stacking up gigs, he’s also the resident wild card on the network’s hit show “The Five,” and he hosts the new reality game show “What Did I Miss?” on Fox Nation, which was just renewed for a second season. Gutfeld isn’t just leaving his mark on the network; he’s reshaping it.

Before he became polarizing to some, and well before his New York Times bestsellers and his night of reminiscing on Jimmy Fallon’s couch, Gutfeld was climbing the editorial ranks at magazines like Men’s Health, Stuff and Maxim. His biggest break came when he landed the very late slot hosting his own Fox News show, “Red Eye,” which would set the stage for his runaway success.

Taking nothing too serious while being surrounded by complete seriousness, and with “Gutfeld!” pulling in some of the strongest ratings on TV, he’s proving that irreverence can be its own kind of relevance. His refusal to put so-called untouchables on a pedestal has everyone taking notice, and like him, loathe him or don’t know what to think about a grown man obsessed with unicorns, there’s no denying that Gutfeld has turned having a good time into a full-time job. And he’s just getting warmed up.

How do you find out you’re No. 1 in the 10 p.m. timeslot ? Is there a cake and a massive check?

It’s more brought to you and then happens over time. I get ratings every single day, so I was able to watch us win. I guess I wasn’t that surprised by it; I just knew that it was going to take time. I thought, yeah, maybe in a couple of years, but it was in like a matter of months.

For old–school fans of “Red Eye,” “Gutfeld!” feels familiar, with the blended panel that’s always down to have a good time. But now everyone gets more comfortable chairs, which is nice too.

I agree. “Gutfeld!” is basically “Red Eye” but for everybody. Red Eye was operating on the assumption that you really had a select group of people awake at 2 or 3 in the morning. It wasn’t trying to be a cultlike pleasure; it just happened to be that way. We did want it to be for everyone, though. Now we have 10 times the viewers and we’re No. 1, so in my mind I’m going, I want the same sensibility, but I don’t want to completely confuse the viewers. I realize that my humor on “Red Eye” was deliberately obtuse in some ways, and not really deliberately. It was just surreal and bizarre, and maybe that won’t fly in prime time or late night, but like “Red Eye,” our show now is as interesting and unpredictable as that show was. And that’s 90% of the fight.

There’s definitely an unpredictability theme going on because “The Five” can get somewhat fiery at times, but not for the reasons one would think.

With “Gutfeld!” and with “The Five,” I really push the concept of teasing, because when I genuinely like somebody, I tease them. When everybody is together teasing each other, it’s a very fun thing and the viewers are in on it. On “Red Eye,” we were all basically roasting each other, and on my show, we’re all making fun of each other, some more than others. On “The Five,” of course, I needle Dana [Perino] and Jesse [Watters], they needle me, I go after Jessica [Tarlov], she makes fun of us all — we all do it, and I think that’s really the secret sauce to the success of “The Five,” “Gutfeld!” and why “Red Eye” was so beloved. You felt like you were with the people. It was like a perverted version of “Friends.”

There really is this vibe that, no matter what gets said, when the camera goes off you’re all knocking back a few together.

Yeah, I think the key is that nothing you say should warrant an apology. Meaning, if I were to insult you, you’re not going to demand an apology from me. When somebody wants an apology for a comment I always ask them, “How would that apology sound? I’m sorry that the jokes I made hurt your feelings?” How insulting is that to that person you’re apologizing to! I’m sorry I hurt your feelings with this insult. It’s like the people that are demanding an apology don’t even see how absolutely insulting it is that they are asking for it.

Some people really write their own headlines. I imagine yours ramped up after you took “The King of Late Night” joke and ran with it?

I’m trying to think where “the king” came from, and I think I have to credit Dave Rubin. I think Rubin was on during the first week of the show and said something like, “You’re going to be the king of late night. You’re going to be No. 1.” I don’t like saying stuff like that because then it’ll just be thrown back in your face, but he was right! Then, of course, I had to put it on my book cover. I don’t even know how that all happened, but putting it on the cover of my book was just, like, this audacious and ridiculous thing, having me on the top like I’m a skyscraper where King Kong swatted down people.

Silly is definitely your lane. What do you think the term “late night” even means anymore? It used to be pretty neutral, and now it’s almost like you better choose a side before you watch this comic make their TV debut!

Yeah, it kind of became defined as maybe a person who wanted to go to bed angry with somebody who wanted to go to bed happy. One thing that I always want to do is not send people to bed enraged. Sure, maybe you’re sad that Biden lost, but we’re going to have so much fun, and this is going to be great! And then Trump wins. This is going to be so much fun, and this is going to be great! So, we’re going to have fun, and things are going to be great no matter who wins or loses. I’m not going to let that impact the time that we have. I think doing a late-night show that makes everyone feel bad is a disservice. I don’t understand that. That’s when you have people switching the channel to come to us. They didn’t even know that we existed until then.

What a shakeup that channel flip caused and, also, it’s pretty monumental because the viewers are staying.

You know, for a long time they couldn’t even mention my name and it was a personal thing for them, but then I think they realized that all I did was point out what was missing. I mean, they gave me the opportunity by not addressing most of the country, and it was there for the taking. There was literally free money on the table, and so I took it, and I showed [mainstream media] that they don’t own the culture. I think it’s not just about late night; it’s about all of culture. It’s the ability to tell people, you aren’t the cool kids at the table anymore. You took people for granted, you insulted everybody else, and we’re the ones now who are having fun.

Seeing you on Fallon also looked like a lot of fun. You could seriously feel your excitement as you told him your drunken story of meeting him. You think he’d ever come on ”Gutfeld!”?

It was fun! It went the way I think we both wanted it to go, which was like an old-school TV segment you would have seen on Carson. Just two people having a fun conversation. I probably talked too much, but I had to tell that drinking story because I’ve been telling that story for years, and the only person I hadn’t told that to was Jimmy. So yeah, we were both happy about it, and it’s good to see two industry people in whatever “supposed rivalry” who genuinely like each other without that other bull—. I haven’t asked him to come on, though. Our show is a little different because if you come on, you’re on for the whole hour. You’re also on with other people so it’s kind of a bigger ask of someone, but the president did do it so…

For over 40 years, Scott Anderson has been one of America’s most incisive foreign correspondents, filing dispatches from trouble spots around the world with a novelist’s eye and a talent for disentangling complex issues. The author of seven previous books, Anderson’s latest is “King of Kings,” an immersive history of the events that led to the 1979 downfall of the shah of Iran and the rise of Ayatollah Ruhollah Khomeini’s theocratic republic. Anderson traces the roots of the Iranian revolution to the U.S. government’s sponsorship of the 1953 coup that restored Mohammad Reza Pahlavi to power. A creeping co-dependency between the U.S. and Iran followed, abetted by massive military and oil contracts, at the same time that U.S. representatives in Iran turned a blind eye to the shah’s abuses of power and, later, Khomeini’s anti-Western jihadism.

I spoke with Anderson about his book, and the long tail of missteps that led to the occupation of the United States Embassy by Khomeini’s followers on Nov. 4, 1979.

(Please note: The Times may earn a commission through links to Bookshop.org, whose fees support independent bookstores.)

✍️ Author Chat

Author Scott Anderson.

(Nanette Burstein)

The overall feeling I get reading the book is fecklessness and foot–dragging on the part of the American government in the service of protecting our oil sales and military contracts with Iran. There seems to be a complete misunderstanding of, well, just about everything.

Even after the revolution when Khomeini had come in — that nine month period before the hostages were taken — the Americans pretty much replicated the mistakes they’d made with the shah. There’s this whole idea of like, well, they’re going through this revolutionary anti-American fervor right now, but they need us. They’re going to come back around because our economies are so intertwined. All their weapons are American, so they’re going to need us to service them. So there’s just this manner that everything was going to work out and, of course, that became institutionalized.

With a few exceptions, none of the U.S. officials in Iran even spoke Farsi. You talk about how they had all those cassettes of Khomeini’s speeches in the drawers at the CIA and no one bothered to translate them.

So Khomeini comes back from exile on Feb. 1, 1979, with 4 million people greeting him. He goes to the cemetery to give his inaugural speech and the Americans don’t even send an embassy worker. They don’t even send a local out to the cemetery to hear the speech. They didn’t know whether it is a pro- or anti-American speech. It was just astonishing.

Do you feel like 1972 is the turning point? This is the year that President Nixon lifted all restrictions for arms sales to Iran.

I really do. And for what I think is a pretty interesting reason. The shah was a congenitally insecure man. He could never be affirmed enough. And it doesn’t matter how many presidents said, “You’re our man,” he always needed to hear more and more. So what happened in ’72 was the shah’s dream came true. He had knelt at the feet of FDR in 1943. Kennedy was dismissive of him. He had always been trying to push in the door with the Americans. He’d been humiliated again and again. And now he’s got carte blanche from Nixon and Kissinger. This is when you saw the huge escalation in arms purchases and the catapulting of the Iranian military into the first tier of militaries around the world.

Do you think the revolution could have been prevented?

I spent a lot of time studying the revolution as it unfolded, and what struck me was how mysterious the whole thing was, how it came to be. There were so many moments where the outcome might have been different. If the shah’s confidante Asadollah Alam hadn’t died in the early days of the revolution, for example, because he was decisive and the shah was not. There were so many odd quirks that took things down a certain path.

📰 The Week(s) in Books

Justin Currie, lead singer of Scottish rock band Del Amitri, chronicles his struggle with Parkinson’s in the book “The Tremolo Diaries.”

(Colin Constance)

“Helen Oyeyemi’s books are getting weirder — and I mean that in the best way,” Ilana Masad writes about the author’s new novel, “A New New Me.” “Such whimsy … could be overwhelming, but Oyeyemi is such a confident writer … that you know you are in good hands.”

R.F. Kuang’s new novel, “Katabasis,” is “a dark academic fantasy” that is “more mature and less showy” than the author’s earlier works, according to Valorie Castellanos Clark.

David Baron has written a book called “The Martians” about the frenzy over extraterrestrial life that gripped America at the turn of the 20th century, and Chris Vognar approves. Baron “approaches his subject with clarity, style and narrative drive,” he writes.

Finally, Stuart Miller talked with Justin Currie of the band Del Amitri about his new book, “The Tremolo Diaries,” about Currie’s struggles with Parkinson’s disease.

📖 Bookstore Faves

Malibu Village Books is the only general interest bookstore in Malibu. We spoke to owner Michelle Pierce about the beachside literary hub.

(Malibu Village Books)

Malibu Village Books is the first new bookstore to arrive in the beach city in 15 years. A small yet inviting space with a well curated selection of books, the store has had its share of challenges over the past year. I spoke to the store’s owner, Michelle Pierce, about it.

This is the first new bookstore to open in Malibu in quite some time. How did you come to open it?

I also own Lido Village Books in Newport Beach, and the owners of the Malibu Village Mall came by and liked what I was doing there, so they asked me if I wanted to open a store in their mall.

What is selling right now?

“My Friends” by Fredrik Backman, “The River’s Daughter” by Bridget Crocker and a big preorder for “By Invitation Only” by Alexandra Brown Chang.

How have the fires affected business?

The fires have affected us enormously. With the Franklin fire, we lost so much of our holiday book sales, and then the Palisades fire shut down PCH for six months. So our sales are definitely down, and the summer tourism traffic has not been what it should be, so yes, we are definitely in a challenging period.

What about the locals? Are they shopping in your store?

Local residents are really excited that we’re here. We have a lot of active book clubs, and we’re working with the library on a lecture series at the Soho House, where we will bring in authors to speak. We’re still fighting, and the community is definitely supporting us. It’s true what they say — bookstores are all about community.

Malibu Village Books is located at 23359 Pacific Coast Highway #23359, Malibu, 90265.

The Motley Fool just updated its report on the 10 largest consumer staple companies. You probably know every name on the list, which includes retail giants like Walmart (NYSE: WMT), product makers like Procter & Gamble (NYSE: PG), and tobacco companies like Philip Morris International (NYSE: PM). Also on that list is a Dividend King food and beverage company that has a historically high yield. Here’s why it could be the best opportunity for investors today.

What does PepsiCo do?

To get right to the crux of the topic, PepsiCo (PEP 1.12%) is the company in question. It sits at No. 7 on the list of the largest consumer staple companies, with a market cap of around $200 billion. It is one of three beverage makers on the list, the other two being Coca-Cola (KO 0.94%) at No. 4 and Anheuser-Busch InBev (NYSE: BUD) at No. 10.

Image source: Getty Images.

Unlike those other two, however, PepsiCo’s business extends well beyond beverages. It also has leading positions in the salty snack (Frito-Lay) and packaged food (Quaker Oats) segments of the sector. It is one of the most diversified companies on the top-10 list. Only Unilever (NYSE: UL), which makes household products and food, has a similar degree of diversification.

PepsiCo, meanwhile, stands toe to toe with every company on the list with regard to name recognition. For more direct peers, those that manage brands and are not retailers, it can compete equally on distribution, marketing, and product development. And, like all the other names on the list, PepsiCo is large enough to act as an industry consolidator, buying smaller companies to round out its brand portfolio and keep up with consumers’ buying habits.

The proof of the business’s strength and resilience is best highlighted by the fact that PepsiCo is a Dividend King. It has increased its dividend annually for 53 consecutive years, which is not something a company can achieve if it doesn’t have a strong business model that gets executed well in both good times and bad. For reference, other Dividend Kings on the list include Walmart, Coca-Cola, and Procter & Gamble.

WMT data by YCharts.

This is not a good time for PepsiCo 

Among the sub-grouping of large consumer staples companies that are also Dividend Kings, PepsiCo has been the laggard in recent years. To put a number on that, PepsiCo’s 2.1% organic sales growth in the second quarter was less than half the 5% growth of Coca-Cola, its closest peer. No wonder PepsiCo’s stock is down more than 20% from its 2023 highs, the worst result from the Dividend Kings grouping. That also puts PepsiCo into its own personal bear market.

However, the market’s negative view of PepsiCo could be an opportunity for long-term dividend investors. For starters, history suggests that PepsiCo will muddle through this rough patch, as it has done many times before. Second, the company is already making moves to improve performance, including buying a Mexican-American food maker and a probiotic beverage company. Third, falling share price has pushed its dividend yield up to 3.8%, which is toward the high end of the stock’s historical yield range.

That last point suggests that PepsiCo stock is cheap right now. This view is backed up by the fact that the company’s price-to-sales and price-to-book-value ratios are both well below their five-year averages. The company’s price-to-earnings ratio is sitting around the longer-term average. This is an opportunity if you think in decades and not days.

The time to jump is now

The interesting thing here is that PepsiCo is actually the best-performing stock on the top 10 list over the past three months. It seems investors are beginning to recognize the potential. But given how far the stock has fallen, it is still flying under the radar a bit. If you like owning Dividend Kings with reliable businesses, PepsiCo can still be an attractive long-term investment to add to your portfolio… if you act quickly.

London, United Kingdom – Jonathon Porritt, a 75-year-old Oxford-educated environmentalist, is among the hundreds of people that the UK has cracked down on over their support of Palestine Action.

He was arrested and charged earlier this month, under Section 13 of the Terrorism Act, for holding up a sign at a rally decrying the government’s decision to outlaw the protest group.

“I oppose genocide, I support Palestine Action,” read the cardboard placard that he, and many of the 520 others arrested, raised.

His bail hearing is scheduled for late October.

But Porritt is not a hardened criminal.

He spent 30 years advising the king on environmental issues when the monarch held the Prince of Wales title. He has also chaired a sustainable development commission set up by former Prime Minister Tony Blair, and throughout his career has worked in politics, academia and directed Friends of the Earth. In 2000, he was awarded a CBE, a high-ranking order, for services to environmental protection.

Al Jazeera spoke to Porritt about his activism, Palestine, the role of business and the effect of weapons manufacturing on climate change.

Al Jazeera: As the crisis in Gaza worsens, you have urged the UK to take action to stop Israel’s onslaught. With more than 700 other business leaders, you recently called for targeted sanctions against those accused of violating international law, including war crimes. Does that include Israeli Prime Minister Benjamin Netanyahu, since he is wanted for arrest by the International Criminal Court?

Jonathan Porritt: It would certainly include members of his cabinet who have been very forthright in the comments that they’ve made, which clearly breach any understanding of the rights of people to exist … and indicate a readiness to ethnically cleanse Gaza and indeed to prepare to do the same in the West Bank.

It’s very clear that those sanctions do now need to be brought forward, and I think it is important that it’s business leaders that are suggesting that you just can’t allow those kinds of blatant attacks on the Palestinian people to continue.

Al Jazeera: On an individual level, many people appalled at Israel’s conduct in Gaza have joined a campaign to boycott Israeli goods, in an attempt at hitting the economy that fuels the war. Is this an effective way to stem the violence?

Porritt: It is something I do on an individual level. And this is purely personal, but I would be deeply unhappy buying anything exported into the UK from Israel. I feel that the government of Israel at the moment and its track record in terms of the way it’s dealt with the situation in Gaza and the West Bank is so repugnant to me personally that I feel uncomfortable supporting the economic standing of that country, so that’s my own personal choice.

I don’t go out of my way to suggest that everybody needs to do that.

I think lifestyle decisions are really important, ethical decisions are really important, but do they actually change very much? Probably not, is the reality, and an awful lot of people simply don’t know the issues behind these choices.

Al Jazeera: Your arrest earlier this month made headlines. What do you think figures such as King Charles and Tony Blair, who you’ve worked with, would make of your radical activism?

Porritt: I was comfortable taking on establishment roles as chair of the commission [launched by Blair], for instance, [and] helping to set up the Prince of Wales’s business and sustainability programme, all that kind of stuff. But my life started as an activist in the Green Party and in Friends of the Earth, so they probably always knew that I was more predisposed to that tactical route than to the inside track that I nonetheless spent 30 years pursuing.

Al Jazeera: With several wars raging, is the link between militaries and weapons companies, which are major carbon polluters, and climate change being talked about enough?

Porritt: No, and this really bugs me a lot.

The investment in nuclear weapons of one kind or another, upgrades going on all over the world, and increasing the number of warheads again – this is just crazy, and on the 80th anniversary of Hiroshima you think, how can that possibly be?

And then, then you look at the environmental impacts of all of that, of course, including the CO2 footprint of vast increases in expenditure on arms, and it’s just the worst possible way of trying to increase security for people in their own country – to make these hugely carbon-intensive and destructive investments and yet more weapons of mass destruction.

Al Jazeera: The UK has proscribed Palestine Action as a terror organisation, but its backers say outlawing the group is a way to silence dissent as Israel wages war in Gaza. It is now legally challenging the proscription. What does Palestine Action stand for, in your view?

Porritt: What Palestine Action actually stands for is a readiness to use violence against property as part of its campaigning tactics against, in particular, those arms companies [that are] deeply complicit in the continuing genocide in Gaza. They see as being proportionate when set against the devastation going on in Gaza.

That choice about tactics is morally based, wholly defensible … and in no way indicative of a formally designated terrorist organisation.

In the last few years, there’s been an astonishing legal crackdown on basic rights in this country, particularly the right to the freedom of speech and the right to freedom to protest

The designation as a terrorist organisation … is to try and silence Palestine Action. That’s where I come back to the now incontrovertible proof of the UK government’s complicity in this genocide, and because of that complicity – its continuation of licences for arms quite clearly being used to massacre innocent people across Gaza – if you look at that complicity, they needed something extra. They needed an even bigger stick to shut Palestine Action up so that the citizens of the UK were not permitted to recognise just how abhorrent this government’s behaviour is.

Aug. 18 (UPI) — The stepson of the presumed next king of Norway was charged Monday on multiple offenses, including rape.

Marius Borg Hobby, the 27-year-old son of Norway’s Crown Princess Mette-Marit and stepson to Crown Prince Haakon, was charged with 32 offenses and four counts of rape by Norwegian authorities.

“Our client denies all charges of sexual abuse, as well as the majority of the charges regarding violence,” Hoiby’s co-attorney Petar Sekulic told The Guardian.

At least four different women stepped forward with rape allegations that extended from 2018 to last year, which included domestic abuse of an ex-lover and illegally filming a number of different women without consent.

It was first revealed in November that an untitled would-be royal was under suspicion and allegedly “attacked” a 20-year-old woman in a “psychologically and physically” harmful way, according to Norwegian outlet Se og Hor.

He was later arrested on preliminary charges that included violating a restraining order and driving without a license.

On Monday, Sekulic added that Hoiby will later “present a detailed account of his version of events before the court.”

Hoiby, who holds no place in line to throne, became connected to the Norwegian royal house of Glucksburg via marriage in 2001 when his mother married the son and second eldest child of Norway’s King Harald V and Queen Sonja.

He also faces charges of harassment of police and other traffic violations.

A trial is expected for early next year and Hoiby could spend up to 10 years in prison if convicted on the more serious rape charges.

EXCLUSIVE: Nikolaj Coster-Waldau stars as William, Duke of Normandy, in upcoming BBC series King & Conqueror.

Most will recognise Nikolaj Coster-Waldau for his role of Jaime Lannister in Game of Thrones but for his latest venture, he’s transformed into William, Duke of Normandy – or as many will know him, William the Conqueror.

The Danish actor will go head to head against James Norton in the BBC historical drama which follows the events leading up to the Battle of Hastings in 1066.

King and Conqueror also marks the first time Nikolaj has directed. And funnily enough, his directorial debut saw him choreograph a scene which sees the leading actor fight bare-chested.

Speaking of filming the fight, which fans will get the chance to see in episode five, he recalled: “That was tough. I was spending a lot of time planning that because we only had so much time to do it.

“The stunt team was incredible. The trick, or the challenge, when you do something like that, of course, because everyone’s bare-chested, you can’t hide anything. You know you’re going to hurt yourself when you do these things, so we had to be very careful.”

Heaping praise on the stunt team, which included UFC and MMA fighters, Nikolaj shared: “These guys insane. The Icelandic guys, they’re brilliant. I mean, there’s one scene, the guy I’m fighting – he’s in fights in the the big stuff – which is why I wanted to be the guy choking him out.

“There’s this big, big guy – at one point, he lifts up James [Norton] – early in the fight, he takes one of the other stunt guys and he throws him against this wagon.

“And that was planned but what wasn’t planned was that he’s thrown him so hard that he went through the wagon and he like completely crashed the whole thing. The sound you hear, it’s literally a guy being thrown through. But they just took it.”

He went on to share that during filming, everyone got so involved, one member of the team was knocked out.

“We had rehearsals where there was a guy knocked out. I mean they go so close, right? And it was a mistake both of them. I mean you should always be able to hold your fist but the other guy, he instead like holding the distance, he kind of moved forward right as he was swinging.

“And they were also you know MMA fighters. So his tooth went out, blood out. And then the other guy, of course, because he hit the tooth, broke [his knuckle], he had to have stitches in his hand as well.”

King and Conqueror is the story of a clash that defined the future of a country for a thousand years.

The synopsis reads: “Harold of Wessex and William of Normandy were two men destined to meet at the Battle of Hastings in 1066; two allies with no design on the English throne, who found themselves forced by circumstance and personal obsession into a war for possession of its crown.”

King and Conqueror airs Sunday 24 August on BBC One at 9pm.

Two and a half years before he died, Elvis Presley sat on the floor of a walk-in closet at the Las Vegas Hilton and discussed a project that might have changed the course of his life.

The meeting, as recounted by Presley’s longtime friend Jerry Schilling, put the King of Rock and Roll face to face with Barbra Streisand, who’d come to see Presley perform at the Hilton in March 1975 then sought an audience after the show to float an idea: Would Presley be interested in appearing opposite Streisand in her remake of “A Star Is Born”?

At the time of the duo’s conversation — Schilling says that he, Presley’s pal Joe Esposito and Streisand’s boyfriend Jon Peters squeezed into the closet with the stars in a search for some quiet amid the commotion backstage — it had been six years since Presley had last played a dramatic role onscreen; Streisand’s pitch so tantalized him, according to Schilling, that they ended up talking for more than two hours about the movie.

“We even ordered in some food,” Schilling recalls.

Presley, of course, didn’t get the part famously played by Kris Kristofferson — a casualty, depending on who you ask, of Streisand’s insistence on top billing or of the unreasonable financial demands of Presley’s manager, Colonel Tom Parker. (In her 2023 memoir, Streisand wonders whether the character of a self-destructive musician was in the end “a little too close to his own life” for Elvis’ comfort.)

Whatever the case, Schilling believes that the disappointment over “A Star Is Born” set Presley on a path of poor decision-making that effectively tanked his career before his tragic death at age 42 on Aug. 16, 1977 — 48 years ago this weekend.

“That was the last time I saw the twinkle in my friend’s eye,” Schilling, 83, says of the sit-down with Streisand.

An intriguing new box set commemorates the King’s final burst of creativity. Released this month in five-CD and two-LP editions, “Sunset Boulevard” collects the music Presley recorded in Los Angeles between 1972 and 1975, including the fruit of one session held just days before the meeting about “A Star Is Born.” These were the studio dates that yielded songs like “Separate Ways,” which Elvis cut amid the crumbling of his marriage to Priscilla Presley, and “Burning Love,” his last Top 10 pop hit, as well as 1975’s “Today” LP, an exemplary showcase of Presley’s latter-day blend of rock, country and blue-eyed soul.

Is yet another repackaging of Presley’s music really something to get excited about? The Elvis industry has never not been alive and well over the half-century since he died; in just the last few years, we’ve seen Baz Luhrmann’s splashy big-screen biopic, the latest book from the singer’s biographer Peter Guralnick (this one about Parker) and not one but two documentaries about the so-called ’68 comeback special that heralded Presley’s return to live performance after nearly a decade of film work.

More gloomily, “Sunset Boulevard” arrives as Priscilla Presley — who got her own biopic from director Sofia Coppola in 2023 — is making headlines thanks to an ugly legal battle with two former business partners she brought on to aid in managing the Presley brand. (The feud itself follows the sudden death two years ago of Priscilla and Elvis’ only child, Lisa Marie Presley.)

Yet the new box offers an opportunity to ponder the curious position Elvis found himself in once the glow of the comeback special had faded: a rock and roll pioneer now strangely removed from the culture he did as much as anyone to invent.

“Sunset Boulevard’s” title, which the set shares with Billy Wilder’s iconic 1950 movie, can’t help but evoke the spoiled grandeur of an aging showbiz legend. It also refers to the physical location of RCA Records’ West Coast headquarters at 6363 Sunset Blvd., across the street from Hollywood’s Cinerama Dome. Now the site of the L.A. Film School, the building is where the Rolling Stones recorded “(I Can’t Get No) Satisfaction” and Jefferson Airplane made “Surrealistic Pillow” — and where Presley set up in the early ’70s after cutting most of his ’60s movie soundtracks at Radio Recorders near the corner of Santa Monica Boulevard and La Brea Avenue.

Jerry Schilling at his home in West Hollywood.

(JSquared Photography / For The Times)

By 1972, rock had long since evolved beyond the crucial influence Elvis exerted at the beginning of his career. Nor was the King particularly dialed into what was happening in music while he was busy in Hollywood.

“We weren’t as exposed as much as I wish we would’ve been to everything going on,” Schilling says on a recent afternoon at his home high in the hills above Sunset Plaza. A core member of Elvis’ fabled Memphis Mafia, Schilling has lived here since 1974, when Elvis bought the place from the TV producer Rick Husky and gifted it to Schilling for his years of loyal friend-ployment.

“When you’re doing movies, you’re up at 7 in the morning and you’re in makeup by 8,” Schilling continues. “You work all day and you come home — you’re not necessarily putting on the latest records.”

More than the growling rock lothario of Presley’s early days — to say nothing of the shaggy psychedelic searchers who emerged in his wake — what the RCA material emphasizes is how expressive a ballad singer Elvis had become in middle age. Schilling says the singer’s romantic troubles drew him to slower, moodier songs like “Separate Ways,” “Always on My Mind” and Kristofferson’s “For the Good Times,” the last of which he delivers in a voice that seems to tremble with regret. (Presley had to be cajoled into singing the uptempo “Burning Love,” according to Schilling, who notes with a laugh that “when it became a hit, he loved it.”)

But in the deep soulfulness of this music you’re also hearing the rapport between Presley and the members of his live band, with whom he recorded at RCA instead of using the session players who’d backed him in the ’60s. Led by guitarist James Burton, the TCB Band — that’s Taking Care of Business — was assembled ahead of Elvis’ first engagement at Las Vegas’ International Hotel, which later became the Las Vegas Hilton; indeed, one of “Sunset Boulevard’s” more fascinating features is the hours of rehearsal tape documenting Presley’s preparation in L.A. for the Vegas shows that began in 1969.

The sound quality is murky and the performances fairly wobbly, as in a take on “You’ve Lost That Loving Feeling” where Elvis can’t quite seem to decide on a key. Yet it’s a thrill to listen in as the musicians find their groove — a kind of earthy, slow-rolling country-gospel R&B — in an array of far-flung tunes including “You Don’t Have to Say You Love Me,” “Good Time Charlie’s Got the Blues,” even the Pointer Sisters’ “Fairytale.”

The RCA Records building on Sunset Boulevard in an undated photo.

(RCA Records)

In one rehearsal recorded Aug. 16, 1974, Elvis cues his band to play the Ewan MacColl ballad made famous by Roberta Flack: “‘The First Time Ever I Saw Your Friggin’ Face,’” he calls out as we hear the players warming up. Then they all lock in for a closely harmonized rendition of the song so pretty there’s something almost spooky about it.

Sitting next to the balcony he was standing on when he got the phone call alerting him to the news of Presley’s death, Schilling takes clear pleasure in spinning well-practiced yarns about his years with Elvis: the time John Lennon told him to tell Presley that he grew out his sideburns in an attempt to look like the King, for instance, or the audition where Elvis took a flier on a relatively unknown drummer named Ronnie Tutt who ended up powering the TCB Band.

He’s more halting when he talks about the end of his friend’s life and about what he sees as the lack of a serious artistic challenge that might have sharpened Elvis’ focus. Staying on in Vegas a bit too long, making so-so records in a home studio set up at Graceland — these weren’t enough to buoy the man he calls a genius. Does Schilling know if Presley saw “A Star Is Born” when it came out at the end of 1976?

He considers the question for a good 10 seconds. “I don’t know,” he finally says. He started tour managing the Beach Boys that year and was spending less time with Presley. “He never mentioned it to me. I wish I knew. There’s probably nobody alive now who could say.”

Need a model for how to thrive in the stranglehold of the modern music economy? How about a band of Australian garage-rockers who cut albums at the pace of an Atlanta rap crew, tour like peak-era Grateful Dead and who just told the biggest company in streaming to go to hell.

King Gizzard & the Lizard Wizard are a fascinating phenomenon in rock. Over 15 years, their LPs have flitted between genres with insouciant musicianship, pulling from punky scuzz, regal soul, krautrock, electro-funk and psychedelia. These LPs come at an insane clip — sometimes up to five in a year, 27 so far. Their freewheeling live shows made them a coveted arena act, when few new rock bands can aspire to that.

Two weeks ago, they became probably the most high-profile band to take their music off Spotify in the wake of Chief Executive Daniel Ek’s investments in an AI-driven weapons firm. The band self-releases on its own labels — they needed no one’s permission.

King Gizzard returns to the Hollywood Bowl on Sunday, this time backed by the Hollywood Bowl Orchestra for a live read of its new album “Phantom Island,” a standout LP that adds deft orchestration to its toolkit. The band’s frontman, Stu Mackenzie, spoke to The Times about giving Spotify the boot, how the L.A. Phil inspired the new record’s arrangements and what they’ve figured out about staying afloat while artists get squeezed from all sides today.

What was your initial reaction to Daniel Ek’s investments in an AI arms company?

A bit of shock, and then feeling that I shouldn’t be shocked. We’ve been saying f— Spotify for years. In our circle of musician friends, that’s what people say all the time, for all of these other reasons which are well documented. We saw a couple of other bands who we admire, and thought “I don’t really want our music to be here, at least right now.” I don’t really consider myself an activist, and I don’t feel comfortable soapboxing. But this feels like a decision staying true to ourselves, and doing what we think is is right for our music, having our music in places that we feel all right about.

Was choosing to leave a complicated decision for the band?

The thing that made it hard was I do want to have our music be accessible to people. I don’t really care about making money from streaming. I know it’s unfair, and I know they are banking so much. But for me personally, I just want to make music, and I want people to be able to listen to it. The hard part was to take that away from so many people. But sometimes you’ve just got to say, “Well, sorry, we’re not going to be here right now.” In the end, it actually was just one quick phone call with the other guys to get off the ship.

As the sizes of everything gets larger, all of the stakes start to feel higher. I grapple with that, because that’s not the kind of band that I like to be in, where it feels like everything is high stakes. I do miss the time where we could just do anything without any consequences, but I still try really hard to operate like that. In the past, I have felt tied to it, that we have to be there. But with this band, we have been happy to take a lot of risks, and for the most part, I’m just happy to see what happens if we just choose the path that feels right for us.

Do you think Spotify noticed or cares that you left?

I don’t expect Daniel Ek to pay attention to this. We have made a lot of experimental moves with the way we’ve released records — bootlegging stuff for free. We have allowed ourselves a license to break conventions, and the people who listen to our music have a trust and a faith to go along on this ride together. I feel grateful to have the sort of fan base you’ll just trust, even when you do something a little counterintuitive. It feels like an experiment to me, like, “Let’s just go away from Spotify, and let’s see what happens.” Why does this have to be a big deal? It actually feels like we’re just trying to find our own positivity in a dark situation.

“Phantom Island” is a really distinct record in your catalog for using so much orchestration. I heard some conversations with the L.A. Phil planted the seed for it?

We played this Hollywood Bowl show a little over two years ago, and being the home stadium of the L.A. Phil, we naturally chatted with them at the show. It did plant a seed of doing a show there backed by the orchestra. We happened to be halfway through making a record at that exact time that we weren’t really sure how to finish. When we started talking about doing a show backed by an orchestra, we thought, “Let’s just make an album with an orchestra.” We rearranged and rewrote these songs with a composer, Chad Kelly. We knew the songs needed something, and we ended up rewriting the songs to work for a rock band in a symphonic medium.

Were there any records you looked to for how to make that approach work? I hear a lot of ELO in there, Isaac Hayes, maybe the Beatles’ “A Day in the Life.”

To be completely honest, I just don’t think there was a model for it. I think we landed on something that we only could have made because we wrote the songs not knowing there were going to be orchestral parts. When you ask me what were the touchstones, well, there weren’t any. I was probably thinking of a lot of music from the early ’60s, a lot of soul and R&B music at that time, which had often had orchestral arrangements. Etta James, for instance, was in the tone and the feel. This isn’t the perfect way to do it, but it was a really serendipitous process.

Your live shows are pretty raucous to say the least; how did you adapt to keep that feeling with orchestras behind you on this tour?

I was pretty anxious, to be honest. We only had one rehearsal the day before the first show. We had to go in and cross our fingers, like, “Okay, I think that’s going to work. I’m just going to hope that it translates.” Our rehearsal was the most intense two and a half hours, but for the show, you’re just like, “All right, this is it.” You’ve just got to commit to what’s on the page.

We’ve had some really awesome people collaborating with us — Sean O’Laughlin did the arrangements for the live shows, and Sarah Hicks is an amazing conductor. We’re just a garage rock band from Australia; we’re very lucky to get to honestly work with the best of the best.

On the other end of the venue spectrum, what was it like playing a residency in a Lithuanian prison?

It was a real prison until really recently [Lukiškės Prison 2.0 in Vilnius, Lithuania]. The history is very dark — like, very, very dark. But there are artist spaces there now, and it’s quite a culturally positive force. They’re the things that make you restore your faith in humanity. You spend so much of your life losing faith in it, and then you go to places like that, and you’re like, “Yeah, humans are okay.”

Speaking of threats to humanity, I think your band contests the idea that artists need to use AI to make enough music to be successful on streaming. You’re proof you can make a ton of music quickly, with real people.

Making music is fun as f—, especially making music with other people. That’s a deeply motivating factor, and we just have a ton of fun making music together. It feels human, it feels spiritual, it feels social. It’s deeply central to who we all are as human beings. And it doesn’t feel hard. It doesn’t feel like we’re fighting against some AI trend or anything. We just make music because it feels good.

You’re an arena act with your own label, and pretty autonomous as a band. Do you think you’ve figured out something important about how to be successful in the modern music economy?

I think we’ve been good at asking internal questions, and questioning what everybody else does and whether we need to do that or not. Sometimes we do the same thing that everybody else does. Sometimes we do something completely different because it makes sense to us. I think we’ve been quite good at being true to ourselves and being confident, or maybe reckless enough to do that.

I do think there’s some serendipity and fate in the personalities of the other guys in the band, and the people that we work with, who have have also been on a pretty unconventional journey and have faith that — in the least pretentious way possible — that other people will dig it, and not worry too much about the other other stuff.

Do you hope to see more and bigger bands striking out on their own, since the big institutions of the music business have yet again proven to not really reflect their values?

I just know what has worked for us, and I’m not sure that means that it’ll work for other people. I don’t know if there’s a model in it. If there is a model, it’s that you don’t have to follow a path if you don’t want to. The well-treaded path is going to work for some people, but you don’t have to stay on that.

I think one thing about this band is that we’ve all been at peace with failing. That if this all fell apart and we went back home and we got regular jobs, I think we would say, “Well, we’re proud of ourselves. We had a good time.” We did what we wanted to do and just suffered the consequences along the way. We’re probably being reckless enough to make potentially selfish decisions over and over again. But people, for some reason, want to come out and see us do that, and we’re super grateful.

I will say this: I should be watching more cartoons. It has been harder to indulge this passion for some of the best, most pleasurable work television has to offer with so many ordinary series fighting for my professional time and attention, but here and now I make a more or less midyear resolution to get back to them. Please hold me to it.

Two great animated series are posting new seasons after long hiatuses (neither on the original platform, both on Hulu). “King of the Hill,” which ran on Fox from 1997 to 2009, lives anew with 10 fresh episodes streaming Monday; “The Amazing World of Gumball” (2011-2019), one of the greatest products of a great age of Cartoon Network, is back as “The Wonderfully Weird World of Gumball,” in a 20-episode season now available. (Earlier seasons of both shows are available on the platform.) Each is under the protection of their original creators; both are their easily recognizable, extremely different old selves.

Visually, there is little to no difference between one multi-camera sitcom and the next, one single-camera mockumentary sitcom and the next, one single-camera non-mockumentary and the next, one CBS police procedural and the next. But every cartoon creates its individual grammar, its dynamic, its world, its synergy between the image and the actors, its level of awkwardness of slickness. (The voice actors, I mean — animators are also actors.) There are trends, of course, in shapes and line and ways to render a mouth or an eyeball, and much drawing is drawn from the history of the medium, because art influences artists. But the spectrum is wide, and novelty counts for a lot.

“The Wonderfully Weird World of Gumball”

(Hulu)

Created by Ben Bocquelet, “Gumball” doesn’t settle for a single style — that is to say, not settling is its style. The characters comprise a hodgepodge, nay, an encyclopedia of visual references, dimensions, materials and degrees of resolution, and include traditional 2-D animation, puppet animation, photo collage and live-action, usually set against a photographic background and knit into a world whose infinite variety seems nothing short of inevitable. (Netflix’s late “The Epic Tales of Captain Underpants” is the only other cartoon with such a range of modes.

Like many modern cartoons (excepting anime, which I would argue is a different, if widely influential, art), its main characters are children. Gumball, currently voiced by Alkaio Thiele, is a blue cat, the son of a cat mother and a rabbit father; he has a pink rabbit little sister, Anais (Kinza Syed Khan), and an adoptive brother, Darwin (Hero Hunter in the new season), a pet goldfish who grew legs and gets around quite easily in the air. Their middle-school classmates include a ghost, a cloud, a banana, an ice cream cone, a daisy, a balloon, a cactus, a T. Rex and a flying eyeball. Gumball’s girlfriend, Penny (Teresa Gallagher) is a shape-shifting yellow fairy. Each is rendered in a different style, and that is just the tip of the animated iceberg.

Like the best cartoons ostensibly made for kids, it doesn’t underestimate its audience, what it might understand or can handle. Many “Gumball” episodes devolve into a sort of authentically disturbing horror movie, including the last episode of the original series, which saw the characters frighteningly transformed into realistic animated children and a void opening just before the closing credits. It also demonstrates an adult skepticism about the world that might profitably infect young minds. There are critiques of capitalism, consumerism and online culture: In the first episode of the new season, an evil talking hamburger controls the corporate universe; in another, mother Nicole (Gallagher again) is seduced into virtual reality by a lonely, jealous chatbot.

The decade and a half since “King of the Hill” went off the air — surreptitiously, if obviously, referenced in a remark about “that cooking show that Fox stupidly canceled 15 years ago” — is not exactly represented in the new season, but time has passed. (The characters did not age 13 years over the original series — but they grew a little.) Hank, voiced by co-creator Mike Judge, and Peggy Hill (Kathy Najimy), returning to Arlen, Texas, from Saudi Arabia, where Hank had been exercising his expertise in all things propane, are drawn older by the addition of a few wrinkles but are substantially unchanged. As a character, Hank, of course, distrusts change, though possibly not as much as the friends who gather, as before, in the alley behind his house; indeed, he worries that the love of soccer he acquired while away will reduce his standing in their eyes. Peggy, on the other hand, was enlarged by her time away; she likes to demonstrate a few words of Arabic. Both Hills are dealing uncomfortably with retirement; he looks for odd jobs, takes a stab at making beer (not that fruit-flavored stuff); she exercises.

In the revived “King of the Hill,” Bobby and Hank compete against each other in a home brew competition, to Peggy’s dismay (but eventual delight).

(Mike Judge/Disney)

The show is set in an awkwardly drawn but highly evocative, extremely ordinary environment that perfectly serves its stories; it feels like an accurate outsider-art rendition of its middle-class Texas suburb. There is little in it that couldn’t be handled as live-action situation comedy; indeed, for long stretches you can close your eyes and let it play in your head like an old-time radio show — “Ozzie and Harriet,” or “Vic and Sade” for the deep cut — which testifies to the quality of the writing and the performances. (Judge’s voice has an unschooled quality that perfectly matches the drawing. I was once almost certain that Hank’s voice was that of my friend Will Ray, a country-music guitar slinger — which would have made sense, given Judge’s interest in the music and his occasional moonlighting as a bass player. That is neither here or there, but I am happy to have found a place to mention it.)

Their son, Bobby (Pamela Adlon), is now an adult; little dots on his chin indicate either that he can grow a beard but neglects to shave or that he can’t quite grow a beard; it doesn’t seem exactly like a choice. A formerly established talent for cooking — the final episode of the original run concerned his ability to judge the quality of a cut of meat — has blossomed into his becoming a restaurateur, offering a fusion of Japanese and Texas cuisine; he is evidently good at this, though for whatever reason — more work to draw them? — his restaurant is devoid of customers. The torch he carries for sometime girlfriend Connie Souphanousinphone (Lauren Tom) occupies the other half of his storyline here.

There are light topical references — a sidelong joke about the names billionaires give their children, for example — but the show happily lives in its world of day-to-day annoyances and victories. Hank is excited by a trip to the George W. Bush presidential library, but one can’t imagine him with any affection for the current Oval Office occupant; he’s too common-sense for that. Extreme views and conspiracy theories are loaded into Hank’s pest exterminator friend Dale Gribble. The late Johnny Hardwick, who voiced him for the first six episodes of the new season, was replaced by Toby Huss. (Jonathan Joss, who played the character John Redcorn, died in a shooting this June.) Cartoons have a way of dealing with death — they don’t have to — and time means no more there than the animators want it to. It’s a comfortable state of being.

Forward Alex Laferriere has agreed to a three-year, $12.3-million deal to stay with the Kings.

The Kings announced the deal Saturday for Laferriere, who was a restricted free agent this summer after playing out his entry-level contract.

The 23-year-old Laferriere had 19 goals and 23 assists last year for the Kings, emerging as a dependable scorer in only his second NHL season. He largely played on the right wing alongside center Quinton Byfield, another key member of Los Angeles’ young core, and high-scoring Kevin Fiala.

A third-round pick in the 2020 draft, Laferriere has 31 goals and 34 assists in 158 games for the Kings.

New general manager Ken Holland has taken care of his most pressing summer contract issues after the signing of Laferriere, but Holland said last month that he would be eager to sign Adrian Kempe to a long-term deal as the Swedish forward heads into the final season of his current contract.

The King has led a chorus of praise for the “awesome” Lionesses after their European Championship victory on Sunday.

After Sarina Wiegman’s side clinched a nail-biting win against Spain on penalties, he said England had showed “there are no setbacks so tough that defeat cannot be transformed into victory, even as the final whistle looms”.

Prince William and Princess Charlotte, who watched the match from the stands in Switzerland, said they “couldn’t be prouder” of the side.

Prime Minister Sir Keir Starmer, who was also in attendance, called the team “history makers”.

Downing Street said it will hold a special reception for the Lionesses on Monday to mark their “momentous achievement”.

The event will be hosted by Deputy Prime Minister Angela Rayner and sports minister Stephanie Peacock.

In a statement released after the final whistle, King Charles said: “For more years than I care to remember, England fans have sung that famous chant ‘football’s coming home’.

“As you return home with the trophy you won at Wembley three years ago, it is a source of great pride that, through sporting skill and awesome teamwork, the Lionesses have made those words ring true.

“For this, you have my whole family’s warmest appreciation and admiration.

“Well done, Lionesses. The next task is to bring home the World Cup in 2027 if you possibly can.”

Princess Charlotte was seen applauding from the stands alongside her father at St Jakobs-Park in Basel during the hard-fought contest against Spain.

After the match, a statement from her and Prince William was shared on social media: “What a game! Lionesses, you are the champions of Europe. We couldn’t be prouder of the whole team. Enjoy this moment England.”

The victory saw the Lionesses become the first women’s team to retain a European Championship, and also the first England football team to win a major trophy away from home.

After the match, Sir Keir wrote on X: “Champions! Congratulations Lionesses – what a team. What a game. What drama.

“You dug deep when it mattered most and you’ve made the nation proud. History makers.”

Goalkeeper Mary Earps, who retired from England duty in May after being dropped from the squad for Euro 2025, said her former teammates were “incredible”.

An open-top bus tour will be held in central London on Tuesday to mark the win, with a celebration due to be held outside Buckingham Palace.

It will process along The Mall from 12.10pm, before a staged ceremony at the Queen Victoria Memorial.

Fans can attend for free and it will also be broadcast on the BBC.

Downing Street has no plans for a bank holiday to mark the win, the BBC understands.

WASHINGTON — The Trump administration on Monday released records of the FBI’s surveillance of Martin Luther King Jr. despite opposition from the slain Nobel laureate’s family and the civil rights group that he led until his 1968 assassination.

The digital document dump includes more than 240,000 pages of records that had been under a court-imposed seal since 1977, when the FBI first gathered the records and turned them over to the National Archives and Records Administration.

In a lengthy statement released Monday, King’s two living children, Martin III, 67, and Bernice, 62, said their father’s killing has been a “captivating public curiosity for decades.” But the pair emphasized the personal nature of the matter and urged that the files “be viewed within their full historical context.”

The Kings got advance access to the records and had their own teams reviewing them. Those efforts continued even as the government granted public access. Among the documents are leads the FBI received after King’s assassination and details of the CIA’s fixation on King’s pivot to international anti-war and anti-poverty movements in the years before he was killed. It was not immediately clear whether the documents shed new light on King’s life, the civil rights movement or his murder.

“As the children of Dr. King and Mrs. Coretta Scott King, his tragic death has been an intensely personal grief — a devastating loss for his wife, children, and the granddaughter he never met — an absence our family has endured for over 57 years,” they wrote. “We ask those who engage with the release of these files to do so with empathy, restraint, and respect for our family’s continuing grief.”

They also repeated the family’s long-held contention that James Earl Ray, the man convicted of assassinating King, was not solely responsible, if at all.

Bernice King was 5 years old when her father was killed at the age of 39. Martin III was 10.

A statement from the office of Director of National Intelligence Tulsi Gabbard called the disclosure “unprecedented” and said many of the records had been digitized for the first time. She praised President Trump for pushing the issue.

Release is ‘transparency’ to some, a ‘distraction’ for others

Trump promised as a candidate to release files related to President John F. Kennedy’s 1963 assassination. When Trump took office in January, he signed an executive order to declassify the JFK records, along with those associated with Robert F. Kennedy’s and MLK’s 1968 assassinations.

The government unsealed the JFK records in March and disclosed some RFK files in April.

The announcement from Gabbard’s office included a statement from Alveda King, Martin Luther King Jr.’s niece, who is an outspoken conservative and has broken from King’s children on various topics — including the FBI files. Alveda King said she was “grateful to President Trump” for his “transparency.”

Separately, Atty. Gen. Pam Bondi’s social media account featured a picture of the attorney general with Alveda King.

Besides fulfilling Trump’s order, the latest release means another alternative headline for the president as he tries to mollify supporters angry over his administration’s handling of records concerning the sex trafficking investigation of Jeffrey Epstein, who killed himself behind bars while awaiting trial in 2019, during Trump’s first presidency. Trump on Friday ordered the Justice Department to release grand jury testimony but stopped short of unsealing the entire case file.

Bernice King and Martin Luther King III did not mention Trump in their statement Monday. But Bernice King later posted on her personal Instagram account a black-and-white photo of her father, looking annoyed, with the caption “Now, do the Epstein files.”

And some civil rights activists did not spare the president.

“Trump releasing the MLK assassination files is not about transparency or justice,” said the Rev. Al Sharpton. “It’s a desperate attempt to distract people from the firestorm engulfing Trump over the Epstein files and the public unraveling of his credibility among the MAGA base.”

The King Center, founded by King’s widow and now led by Bernice King, reacted separately from what Bernice said jointly with her brother. The King Center statement framed the release as a distraction — but from more than short-term political controversy.

“It is unfortunate and ill-timed, given the myriad of pressing issues and injustices affecting the United States and the global society,” the King Center, linking those challenges to MLK’s efforts. “This righteous work should be our collective response to renewed attention on the assassination of a great purveyor of true peace.”

Records mean a new trove of research material

The King records were initially intended to be sealed until 2027, until Justice Department attorneys asked a federal judge to lift the sealing order early. Scholars, history buffs and journalists have been preparing to study the documents for new information about his assassination on April 4, 1968, in Memphis, Tenn.

The Southern Christian Leadership Conference, which King co-founded in 1957 as the civil rights movement blossomed, opposed the release. The group, along with King’s family, argued that the FBI illegally surveilled King and other civil rights figures, hoping to discredit them and their movement.

It has long been established that then-FBI Director J. Edgar Hoover was intensely interested if not obsessed with King and others he considered radicals. FBI records released previously show how Hoover’s bureau wiretapped King’s telephone lines, bugged his hotel rooms and used informants to gather information, including evidence of King’s extramarital affairs.

“He was relentlessly targeted by an invasive, predatory, and deeply disturbing disinformation and surveillance campaign orchestrated by J. Edgar Hoover through the Federal Bureau of Investigation,” the King children said in their statement.

“The intent … was not only to monitor, but to discredit, dismantle and destroy Dr. King’s reputation and the broader American Civil Rights Movement,” they continued. “These actions were not only invasions of privacy, but intentional assaults on the truth — undermining the dignity and freedoms of private citizens who fought for justice, designed to neutralize those who dared to challenge the status quo.”

The Kings said they “support transparency and historical accountability” but “object to any attacks on our father’s legacy or attempts to weaponize it to spread falsehoods.”

Opposition to King intensified even after the Civil Rights Movement compelled Congress and President Lyndon B. Johnson to enact the Civil Rights Act of 1964 and the Voting Rights Act of 1965. After those victories, King turned his attention to economic justice and international peace. He criticized rapacious capitalism and the Vietnam War. King asserted that political rights alone were not enough to ensure a just society. Many establishment figures like Hoover viewed King as a communist threat.

King’s children still don’t accept the original explanation of assassination

King was assassinated as he was aiding striking sanitation workers in Memphis, part of his explicit turn toward economic justice.

Ray pleaded guilty to King’s murder. Ray later renounced that plea and maintained his innocence until his death in 1998.

King family members and others have long questioned whether Ray acted alone or if he was even involved. Coretta Scott King asked for the probe to be reopened, and in 1998, then-Atty. Gen. Janet Reno ordered a new look. Reno’s Justice Department said it “found nothing to disturb the 1969 judicial determination that James Earl Ray murdered Dr. King.”

In their latest statement, Bernice King and Martin Luther King III repeated their assertions that Ray was set up. They pointed to a 1999 civil case, brought by the King family, in which a Memphis jury concluded that Martin Luther King Jr. had been the target of a conspiracy.

“As we review these newly released files,” the Kings said, “we will assess whether they offer additional insights beyond the findings our family has already accepted.”

Barrow writes for the Associated Press. AP journalist Safiyah Riddle contributed to this report from Montgomery, Ala.

The release of hundreds of thousands of pages related to civil rights leader comes despite his family’s opposition.

The administration of United States President Donald Trump has released more than 230,000 pages of files relating to the 1968 assassination of civil rights leader Martin Luther King Jr.

In a statement issued on Monday, Director of National Intelligence Tulsi Gabbard called the release “unprecedented” and cited the president’s commitment to “complete transparency”.

Trump signed an executive order after taking office, declassifying documents relating to the assassinations of King, former President John F Kennedy and former Senator Robert F Kennedy.

King’s records had been under a court-imposed seal since 1977, when the FBI first gathered them and turned them over to the National Archives and Records Administration.

The National Archives released records from John F Kennedy’s November 1963 assassination in March and files related to the June 1968 murder of Robert F Kennedy in April.

King was assassinated in April 1968 in Memphis, Tennessee. James Earl Ray was convicted of the murder and died in prison in 1998, but King’s children have expressed doubts that he was the assassin.

His family, including his two living children, Martin III, 67, and Bernice, 62, were given advance notice of the release and had their own teams reviewing the records ahead of the public disclosure. Those efforts continued even as the government unveiled the digital trove.

In a lengthy statement released on Monday, the King children called their father’s assassination a “captivating public curiosity for decades”. But the pair emphasised the personal nature of the matter and urged that “these files must be viewed within their full historical context”.

During his lifetime, the civil rights leader had been the target of an “invasive, predatory, and deeply disturbing disinformation and surveillance campaign” orchestrated by then-FBI director J Edgar Hoover, they said in a joint statement.

The FBI campaign was intended to “discredit, dismantle and destroy Dr. King’s reputation and the broader American Civil Rights Movement,” they said. “These actions were not only invasions of privacy, but intentional assaults on the truth.”

It was not immediately clear on Monday whether the release would shed any new light on King’s life, the civil rights movement or his murder.

Timing of release raises eyebrows

Besides fulfilling the intent of his January executive order, the latest release serves as another alternative headline for Trump as he tries to mollify supporters angry over his administration’s handling of records concerning the sex trafficking investigation of Jeffrey Epstein, who killed himself behind bars while awaiting trial in 2019, during Trump’s first presidency. Trump last Friday ordered the Department of Justice to release the grand jury testimony but stopped short of unsealing the entire case file.

On social media, users accused the administration of releasing King’s files as an attempt to distract from criticisms over its handling of the Epstein files.

This is shameful.

Instead of honoring the Trump administration’s promise to release the Epstein files, DNI Tulsi Gabbard is trying to distract the public by dredging up discredited FBI smears against Dr. Martin Luther King Jr., against his family’s wishes.

Weaponizing…

— Evaristus Odinikaeze (@odinikaeze) July 21, 2025

Bernice King and Martin Luther King III did not mention Trump in their statement on Monday. As of late Monday afternoon, the administration had not commented on the release.

The King records were initially intended to be sealed until 2027, until Justice Department lawyers in June asked a federal judge to lift the sealing order ahead of its expiration date.

July 14 (UPI) — U.S. President Donald Trump‘s state visit to Britain will take place Sept. 17 through Sept. 19 at Windsor Castle where King Charles III will host him and First Lady Melania Trump, Buckingham Palace announced Monday.

Buckingham Palace said Trump had formerly accepted the invitation, six years on from his first state visit when he was the guest of the late Queen Elizabeth II in June 2019. The visit is unprecedented because Trump will become the first U.S. president to receive the honor twice — second-term presidents traditionally receive a tea or lunch invitation.

Itinerary details remain pending but will comprise a packed schedule of events — including a full ceremonial welcome and a state banquet in the castle’s Saint George’s Hall — with all senior members of the royal family involved, including Prince William and Kate, said the palace.

Trump and the first lady will spend two nights at Windsor Castle. The location was moved from the customary Buckingham Palace due to renovations that are underway at the king’s official residence.

Trump, who has hereditary roots in Scotland, is known to be a fan of Britain, and in particular the royal family and all the associated pomp and grand ceremonies.

British Ambassador to the United States Peter Mandelson said Trump could expect a warm welcome.

“He should expect a warm reception because he really does love Britain. He hugely admires it,” said Mandelson.

“He trusts [British Prime Minister] Keir Starmer. It’s not a question of expressing our gratitude. My lodestar here is to demonstrate respect, not sycophancy. I don’t think the administration has any problem with that.”

However, the timing sidesteps the issue of the traditional address given to parliament by visiting heads of state, as Trump will arrive a day after the legislature rises for the month-long ‘conference” recess, when political parties hold their annual conventions.

A group of 20 MPs signed a motion back in April calling on the speakers of both the House of Commons and the House of Lords not to allow Trump to officially address either chamber, saying his “misogynism, racism and xenophobia, comments on women, refugees and torture” made it inappropriate.

The motion noted “several concerns on his comments about the U.K., parliamentary democracy, the Middle East and equalities; expresses concern about his conduct around Ukraine; believes it would be inappropriate for President Trump to address Parliament.”

Of the lawmakers who backed the motion, 15 belong to Starmer’s ruling Labour Party.

The stance of parliamentarians contrasts with the optics surrounding French President Emmanuel Macron‘s state visit last week, during which he addressed a packed joint session of parliament and laid a wreath at the tomb of the unknown soldier in Westminster Abbey.

The king initially extended the royal invite to Trump in February in a letter that Starmer brought with him on a visit to Washington to meet with Trump in the White House, which the president accepted on the spot.

During his last visit in 2019, mass street protests forced the cancellation of a procession down the mall leading to Buckingham Palace for security reasons and he traveled between events by helicopter, instead of by road.

He also became embroiled in a social media spat with the mayor of London and appeared to breach royal protocol by walking ahead of the queen.

“The Institute,” a 2019 novel by Stephen King, Maine’s Master of the Macabre — or horror, I just said macabre for the alliteration — has become a miniseries with some major additions and minor emendations. Premiering Sunday on MGM+, it belongs to a popular genre in which superpowerful young’uns are gathered in some sort of academy, and more specifically to one in which children with extraordinary powers are weaponized by adults for … reasons. They always have reasons, those cruel adults.

The child at the center of the story is 14-year-old Luke Ellis (Joe Freeman, who shoulders a lot of dramatic weight), a genius with a mostly untapped ability to move things with his mind. (Classic power!) One night while Luke is asleep, people break into his house, and when he wakes in the morning in his bed, you know as well as I that what he’ll find outside his bedroom door is not the rest of his house — just like Patrick McGoohan in “The Prisoner,” one of several other works for the screen that may cross your mind as the show goes on. “Stranger Things,” “The Matrix,” “One Flew Over the Cuckoo’s Nest,” “The Breakfast Club” and “Severance” are some others that came to my mind.

Luke is in the Institute, a drab complex, whose young inmates are identified either as “TK” (telekinetic) or “TP” (telepathic), or once in a blue moon, “PC” (precognitive). Just how Luke’s kidnappers fixed on him in the first place is something for you not to think about. But there he is, and because he is also a genius, his warders think he might be more than usually useful to them. Ms. Sigsby (Mary-Louise Parker) runs the place; her cheery tone and promises of fun food and no bedtime does not hide from you, or from Luke, the fact that she is a liar. That she tells Luke he’s there as part of a project to “serve not just your country but the whole world” is not something to impress any kidnapped teenager.

Fionn Laird, left, Mary-Louise Parker, Simone Miller, Viggo Hanvelt and Arlen So in “The Institute.”

(Chris Reardon / MGM+)

Aiding and abetting Sigsby are sepulchral security head Stackhouse (Julian Richings), who at one point will speak the words “unjustly vilified term final solution”; Tony (Jason Diaz), an almost comically sadistic orderly; and Dr. Hendricks (Robert Joy), who has cooked up the pseudoscientific nonsense at the heart of the plan and puts Luke through a variety of upsetting “tests.” Housekeeper Maureen (Jane Luk) is nice, though — not to be completely trusted, necessarily, but nice.

Meanwhile, handsome Tim Jamieson (Ben Barnes), a former policeman, decorated for an incident that left him bad about feeling decorated, hitchhikes into town — the town near the Institute, whatever it’s called — and gets himself a job with the local constabulary as its “nightknocker,” checking that businesses have locked their doors and the streets are trouble free. At the police station, he meets Officer Wendy Gullickson (Hannah Galway), which makes space for some light guy-gal vibing, while his nocturnal peregrinations will bring him into contact with Annie (Mary Walsh), a street person and conspiracy theorist, who does know an actual thing or two, and who will inspire Tim to poke around that place up on the hill with the guards and the barbed-wire fence. He may not be a cop anymore, but he is not, he says, “the kind of guy who can look the other way.”

At the mostly empty, sort of shabby Institute — like a student center that hasn’t been updated in 30 years, because what’s the point — Luke meets fellow inmates Kalisha (Simone Miller), who inexplicably kisses him upon first meeting, Iris (Birva Pandya), cool kid Nick (Fionn Laird), and later little Avery (Viggo Hanvelt), who may prove the most powerful of all.

The institute has a Front Hall and a Back Hall; at some point, kids from the former are transferred to the latter, which completes a “graduation” the staff mark with a cake and candles. (They’re told that after doing time in the Back Hall, they’ll be going home, which could not possibly be part of the plan.) The meaning of the column of smoke rising from one of the compound’s buildings should be immediately obvious.

Written by Benjamin Cavell (who co-wrote the 2020 adaptation of King’s “The Stand”) and directed by Jack Bender (King’s “Mr. Mercedes”), it drags at times and isn’t particularly interesting to look at, though there’s action and a few special effects toward the end, which, King being King, isn’t over until it’s over — and it never is. Parker is always good to watch, and her Mrs. Sigsby is given some material to make her seem human — if not quite to humanize her — but nothing regarding the Institute and its complicated plans and methods really makes any sense, even in King’s made-world.

Still, if you regard “The Institute” as a kind of YA novel about resistance and revolt, and a metaphor for the way young people have been sacrificed by the old to feed their agendas and wars, it has some legs.

WASHINGTON — There’s no filibuster in the House, but Democratic leader Hakeem Jeffries essentially conducted one anyway.

Jeffries held the House floor for more than eight hours Thursday, taking his “sweet time” with a marathon floor speech that delayed passage of Republicans’ massive tax and spending cuts legislation and gave his minority party a lengthy spotlight to excoriate what he called an “immoral” bill.

As Democratic leader, Jeffries can speak for as long as he wants during debate on legislation — hence its nickname on Capitol Hill, the “magic minute,” that lasts as long as leaders are speaking.

He began the speech at 4:53 a.m. EDT and finished at 1:37 p.m. EDT, 8 hours, 44 minutes later, breaking the record set by then-Rep. Kevin McCarthy (R-Bakersfield) in 2021, when he was the GOP leader. McCarthy spoke for 8 hours, 32 minutes when he angrily criticized Democrats’ “Build Back Better” legislation, breaking a record set by Rep. Nancy Pelosi (D-San Francisco), when she spoke about immigration for 8 hours, 7 minutes in 2018.

“I feel an obligation, Mr. Speaker, to stand on this House floor and take my sweet time,” Jeffries said as he opened.

The speech pushed a final vote on Republican President Trump’s tax bill, initially expected in the early morning, into the daylight hours. The New York Democrat used the time to criticize the bill’s healthcare and food aid cuts, tax breaks for the wealthy and rollbacks to renewable energy programs, among other parts of the bill that Democrats decry.

He also killed time by riffing on hip-hop, King George III and his own life story, among other diversions. He called out Republicans who have voiced concerns about the bill, read stories from people concerned about their health care from those GOP lawmakers’ districts and praised his own members, some of whom sat behind him and cheered, clapped, laughed and joined hands.

“This reckless Republican budget is an immoral document, and that is why I stand here on the floor of the House of Representatives with my colleagues in the House Democratic caucus to stand up and push back against it with everything we have,” Jeffries said.

He ended the speech in the cadence of a Sunday sermon, with most of the Democratic caucus in a tight huddle around him. One colleague called out, “Bring it home, Hakeem!”

“We don’t work for President Donald Trump,” Jeffries said, as a handful of Republicans across the aisle sat silent and occasionally snickered at the leader as he kept talking.

He invoked the late John Lewis, a civil rights activist in the 1960s and longtime Democratic congressman from Georgia. “Get into good trouble, necessary trouble,” Jeffries said. “We’re going to press on until victory is won.”

Jeffries sneaked small bites of food and drank liquids to boost his energy, but did not leave the chamber or his podium. The speech would be over if he did.

Democrats were powerless to stop the huge bill, which Republicans are passing by using an obscure budget procedure that bypasses the Senate filibuster. So they were using the powers they do have, mostly to delay. In the Senate, Democratic leader Chuck Schumer of New York forced Senate clerks to read the bill for almost 16 hours over the weekend.

Sen. Cory Booker (D-N.J.) similarly gained attention in April when he spoke for more than 25 hours on the Senate floor about the first months of Trump’s presidency and broke the record for the longest continuous Senate floor speech in the chamber’s history. Booker was assisted by fellow Democrats who gave him a break from speaking by asking him questions on the Senate floor, but Jeffries’ “magic minute” did not allow for any interaction with other members.

Republicans who were sitting on the floor when Jeffries started trickled out, leaving half the chamber empty. When the speech was over, House Ways and Means Committee Chairman Jason Smith (R-Mo.) called it “a bunch of hogwash.”

The speech “will not change the outcome that you will see very shortly,” Smith said.

After the bill passed, House Majority Leader Steve Scalise said that Democrats “wanted to speak for hours and hours and break records because they wanted to stand in the way of history.”

Jalonick writes for the Associated Press. A.P. writers Matt Brown, Kevin Freking, Lisa Mascaro and Leah Askrinam contributed to this report.

Influencer Liver King says he still has his sights on Joe Rogan, even after he was arrested in Texas earlier this week for making online threats toward the popular podcaster.

The 47-year-old social media personality known for his carnivorous and “primitive” lifestyle was released from Travis County Jail Wednesday afternoon on $20,000 bail, officials confirmed to The Times. He was arrested Tuesday in Austin on suspicion of one count of misdemeanor terroristic threat. Court records show that the influencer — born Brian Johnson — must stay at least 200 yards away from and must not contact Rogan and his family. Johnson is also prohibited from possessing firearms and must undergo a mental health evaluation within a week of his release.

Johnson addressed his release and its terms in a video posted Thursday to his Instagram and Facebook pages. Standing on a vibrating exercise plate, Johnson seemingly hints at plans to confront Rogan — namedropping a Hollywood star to sidestep mentioning the podcaster’s name — while respecting the terms of his restraining order.

“If anybody knows where Seth Rogen is — the other version of him that rhymes with ‘blow’… where his family’s gonna be today, if you can let my team know so that we can stay away from them,” he said, before immediately walking back his request.

“Don’t do anything to their family,” Johnson continues, before contradicting himself and asking fans again to alert him and his team if they are near anyone with “the last name Rogan.” He pans the camera down to display his ankle monitor and rambles about his plans to appear at the state capitol building.

He adds, naming the wrong celebrity: “I’m picking a fight. Who’s it with? Seth Rogen. It’s with Seth Rogen. What’s it for? Family.”

Neither representatives for Johnson nor Rogan immediately responded to The Times’ request for comment on Friday.

Liver King booking image.

(Austin Police Department)

A spokesperson for the Austin Police Department told The Times on Wednesday that detectives learned Tuesday morning that Johnson, 47, had “made threats against the “Joe Rogan Experience” host on his Instagram profile.” Detectives reviewed the posts and saw that Johnson was en route to Austin, where Rogan lives, “while continuing to make threatening statements,” the spokesperson said.

Detectives contacted the podcaster who claimed he never interacted with Johnson and felt threatened by Liver King’s online posts. The spokesperson said officials obtained an arrest warrant for Johnson and detained the social media star at an Austin hotel.

Johnson on Monday posted an Instagram video of himself bear-crawling as he calls out Rogan: “I challenge you man-to-man to a fight.” Johnson rambled in his video about his weight, the stakes of this would-be battle and the “real tension” he has with Rogan. Johnson continued to post Instagram videos — some still name-dropping Rogan and some filmed while he’s in a shower — throughout the day, even after he arrived at the hotel in Austin.

Johnson’s Instagram account also posted several lengthy videos documenting the moments prior to his arrest Tuesday. In one clip, Johnson can be seen getting dressed in a burgundy sweatsuit, including a hoodie featuring a design that essentially pits his brand logo against that of the “Joe Rogan Experience.” Videos also see Johnson haphazardly picking up dishes and various items — including a screwdriver and a multi-tool — as he instructs someone off-camera to keep recording.

A second video shows Johnson huddling and praying with his family in the hotel room before officers escort him down a hallway and into an elevator. In another video posted to Johnson’s account, the person off-screen explains to the influencer’s wife that her husband will be “in and out” and will “need to see a judge before he is dismissed.” They exit the hotel and approach the law enforcement vehicle, where officers are seen securing Johnson into the back seat.

In court documents reviewed by The Times on Friday, a detective noted that Johnson’s social media posts featured “long rants that didn’t appear to make much sense.”

“Affiant knows that behavior such as that can indicate some sort of mental health episode, indicating that Brian Johnson could be a danger to himself and others,” the detective wrote before detailing other videos from Johnson that raised concern.

The detective also wrote of their correspondences with Rogan, who spoke of Johnson’s alleged “significant drug issue” and said he feels “Johnson appears to be significantly unstable and seems like he needs help,” according to the court filing.