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The league’s worst team this season is getting the No. 1 pick in the NBA draft.

The Washington Wizards won the draft lottery on Sunday and are poised to pick first overall for the first time since choosing John Wall in that spot in 2010. Wall was the Wizards’ on-stage representative for the lottery.

Washington had a 14% chance of winning No. 1, tied with Brooklyn and Indiana for the best odds. The Wizards had basically a 50-50 chance of getting either a top-four pick or the No. 5 spot.

But three consecutive years of losing — the three worst seasons in the franchise’s 65-year history — finally paid off Sunday for the Wizards, who went 17-65 this season and even allowed Miami’s Bam Adebayo to score 83 points for the league’s second-highest single-game total ever.

The Wizards swung deals to land Trae Young and Anthony Davis last season, and now they have a chance to add an immediate impact player with the No. 1 pick.

Utah will pick No. 2, Memphis will pick No. 3 and Chicago will pick No. 4.

The Clippers got the fifth pick — via a trade with the Pacers — followed by No. 6 Brooklyn, No. 7 Sacramento, No. 8 Atlanta, No. 9 Dallas, No. 10 Milwaukee, No. 11 Golden State, No. 12 Oklahoma City, No. 13 Miami and No. 14 Charlotte.

The draft begins June 23 in New York. The draft combine in Chicago starts on Monday.

No. 1 pick possibilities

There are four candidates that generally are considered front-runners to be the No. 1 pick, all of them entering the draft after their freshman years of college. They are:

— BYU’s AJ Dybantsa, who led the nation in scoring at 25.5 points per game in his lone college season.

— Duke’s Cameron Boozer, the AP player of the year who averaged 22.5 points and 10.1 rebounds.

— Kansas’ Darryn Peterson, who averaged 20.2 points in 24 games for the Jayhawks.

— North Carolina’s Caleb Wilson, who averaged 19.8 points and 9.4 rebounds on 58% shooting.

All four of those players, and a few other likely first-round selections, were all among those in the studio for the announcement of the lottery results Sunday at Chicago’s Navy Pier.

“Standing here is kind of crazy,” Dybantsa said. “One of these teams is going to be home.”

Last of this format (probably)

This was the eighth, and likely final, year of this version of an NBA draft lottery, with the worst teams having a 14% chance of winning.

Framework fell into place last month on changes meant to further discourage tanking, and the league’s Board of Governors is expected to ratify that plan in the next few weeks — with general managers meeting in Chicago on Tuesday to discuss them presumably for one last time.

The three worst teams, starting next season, would have a 5.4% chance of winning — with the next seven teams all having an 8.1% chance of winning. The lottery would grow from 14 to 16 teams if the plan, as expected, is approved.

Reynolds writes for the Associated Press.

In the fragmented mysteries of the great Argentine filmmaker Lucretia Martel, her explorations always start with sensory flashes: faces, spaces, objects, sounds in transfixing procession. The language is its own, resulting in disorienting but undiluted depictions of the worlds of modern elites (“La Ciénega,” “The Headless Woman”) and 18th century colonists (“Zama”) alike.

But now, with her first feature documentary, “Our Land (Nuestra Tierra),” Martel unravels a political crime and the larger offenses behind it with a vital clarity. The film is centered on the 2009 murder of Javier Chocobar, an Indigenous Chuchagasta man from Argentina’s northwestern Tucumán province, who was shot while defending his ancestral homeland from a thuggish incursion. The weight of the issue at hand — stolen land, territorial rights and the overdue recognition of a colonized country’s original peoples — brings out a tantalizing lucidity from the typically elusive Martel on a serious subject that requires discipline.

In one sense, she’s dealing with a rights issue too painful to be aggressively aestheticized, but she’s also exploring a blood-soaked injustice that can’t be treated conventionally. She begins, in fact, with rolling satellite images from space — as if to say: This appropriation of nature is the world’s problem, not just Argentina’s.

What follows, toggling between a courtroom and vast, contested land (filmed with dreamlike urgency by cinematographer Ernest de Carvalho), is a righteous, visually arresting swirl of fact and feeling, past and present. It’s also anchored by the stories of a community desperate to claim territory they’ve cultivated for centuries. “Our Land” is as honorable a documentary as you’re likely to encounter this year about what fighting looks like in today’s era of grab-what-you-can thievery.

First, we hear from the defendants, captured by Martel’s cameras at their 2018 trial in Buenos Aires (an unconscionable nine years after the shooting). The three accused men — a businessman and two ex-cops — flounder at positioning themselves as the true victims when their own handheld video of the incident shows otherwise: The confrontation with the Chuchagastas only escalated because they brought a gun. Their lawyers obnoxiously push a narrative of ownership versus trespassers, backed by reams of documents and tossed-around historical dates.

But as Martel patiently unfolds the Chuchagastas’ perspective — personal narratives that come to life in intimate photos, atmospheric sound design and warm home footage — we begin to understand that documents and files are a bogus battleground given their hundreds of years of careful tending. One community member distrusts dialogue to begin with, calling it a means to “give up something.”

“Our Land” is the work of a director whose attention is rigorous, whose care is genuine, but who is also conscious of her outsider’s perspective. It’s an ally’s respect. There’s no better proof of that than in her drone shots of this embattled community’s sun-soaked valley: elegant, purposeful, even awkward (a bird hits one) visitations from the air. They’re a reminder that she’s the filmmaker, surveying a story that belongs to others. Documentaries don’t get much more honest than that.

ONE year after its announcement, Paultons Park is finally set to open its new Viking-themed land in a matter of days.

Called Valgard – Realm of the Vikings, the £12million land will have its very first inverting rollercoaster, a swing ride and Middle Age themed ‘feast’ dining.

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Paultons Park, which was voted ‘Theme Park of the Year,’ is opening its new land on May 16.

Upon its opening, Valgard: Realm of the Vikings will three new rides including theme park’s first inverting rollercoaster.

The ride called Drakon, has been dubbed the ‘crown jewel of Valgard’, and is expected to be a thrilling addition to the park.

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Riders will climb a huge vertical hill before they twist and fly through the air upside down.

There will also be the swinging ride called Vild Swing, which is suitable for families.

It’s a first-of-its-kind attraction in the UK that launches riders 12metres into the air and allows them to experience a feeling of weightlessness.

Paultons Park’s Cobra coaster is being reinvented as Raven.

The ride has been called ‘a high-speed bobsleigh style coaster’ and takes riders for a very swift tour journey through the Viking world.

The Orchard Playground is a Viking-inspired area for children between three and 10 – it has a lookout tower, slides, and treehouses to climb.

At the Feasting Hall restaurant, visitors can refuel on flame-grilled chicken, tenders, burgers and salad bowls.

Children can tuck into toasties, meatball subs and chicken burgers.

For afters, there are pancakes with plenty of toppings, sundaes, milkshakes and ice cream.

In 2027, a new water experience is scheduled to open in Valgard – but little information has been released about this planned attraction.

Paultons Park is well-known for having the UK’s first Peppa Pig World and its most recent attraction Ghostly Manor opened this time last year.

Paultons Park won 10 awards at the UK Theme Park Awards – including Theme Park of the Year.

The Sun’s Head of Travel (Digital) Caroline McGuire recently raved about the park.

She said: “On the kids’ favourite rides, such as the Velociraptor and Cat-O-Pillar coasters, we were able to fit in about three rounds in 15 minutes.

“Ghostly Manor even won Best New Attraction at last year’s UK Theme Park awards, one of ten gongs Paultons bagged that I’ve have to agree with thanks to a number of key factors.

“These include the short queues, incredible customer service (employees all cheerful), the cleanliness (bathrooms spotless) and the attention to detail and the fact that they don’t charge for parking, unlike several other big theme parks.

“We spent the entire weekend outside, grinning from ear to ear. And we were blown away, in the good sense.”

A day ticket to Paultons Park is £46.75pp which includes park entry, free parking as well as entry to see the gardens, animals and character meets.

On one of her previous visits to Los Angeles, Argentine filmmaker Lucrecia Martel found herself having a smoke on Hollywood Boulevard.

There, while she stepped over the famous concrete-embedded stars, an unhoused man struck up a conversation with her.

“He kept explaining to me that he was poorly dressed because he was currently living on the street after someone robbed him, but he had written a screenplay,” Martel, 59, recalls in Spanish over coffee on a morning in April at a West Hollywood hotel.

“He told me they had stolen a watch from him — not a Rolex but a known brand,” she continues. “The whole time he was trying to convince me he was a millionaire who just so happened to be on the street because of random circumstances.”

One of Latin America’s most indispensable storytellers, Martel is fascinated by how prevalent that dream still is in L.A. — that movies can change your life overnight.

“That particular fantasy is par for the course in this city,” she says, though she’s not above it. It’s the reason she’s back to promote her first documentary, “Our Land,” out Friday.

Unhurried when it comes to her output, Martel has only made four fiction features, among them 2001’s “La Cienaga” and 2008’s “The Headless Woman” (returning to theaters this month in a new 4K restoration). Her biting and formally audacious narratives examine class, politics and — a speciality — the interiority of women through enigmatic portraits of psychologically complex individuals.

“Our Land,” a piercing indictment of the enduring wounds of colonialism, chronicles the murder of Indigenous Argentine activist Javier Chocobar in 2009 and the prolonged trial of the perpetrators in 2018.

Chocobar was shot during a confrontation with armed men over land in the Tucumán province of Argentina where the Chuschagasta Indigenous community has lived for many generations. Martel explores the killing not as an isolated event in her country’s recent past but as part of a long history of dispossession.

“Racism is a foundational element,” she says of her homeland. “The only consistent thing in Argentina, from the country’s birth to the present day, is the rejection of Indigenous people.”

In Argentina, Martel explains, public education has indoctrinated the population into believing Indigenous people no longer exist. Yet many Argentines proudly claim a connection to the Europeans, Italians in particular, who arrived in the country in the late 1800s and early 1900s.

“When giving speeches, our presidents always say, ‘We are a country of immigrants,’ or ‘We came from the boats,’” says Martel. “They use metaphors like these because deep down Argentines feel much more indebted to European immigration than to our Indigenous population. But more than half of the people in Argentina have Indigenous ancestors.”

In 2020, Chocobar’s three convicted murderers appealed their guilty verdicts and were set free. “Our Land” premiered at the Venice Film Festival in September 2025, which brought renewed attention to the case. A month later, the sentence was upheld and two of the men returned to prison (one died in the interim).

Martel believes that outcome was a response to her film. “Communities wage the fight but cinema helps,” she says.

“I believe that we must use cinema for its enormous power to alter perception and not soothe the rich,” Martel says. “It’s not about delivering a message but rather about showing how an idea functions.”

(Jason Armond / Los Angeles Times)

For over 14 years, Martel worked on “Our Land” on and off. This time included periods when she focused on 2017’s “Zama,” her masterful period piece following a Spanish official in 18th century Argentina “who doesn’t want to be American,” she says, referring to the continent. In her mind, both “Zama” and “Our Land” come from the same impulse to dissect colonialism.

As part of her research process, Martel and her team created a detailed archive of documents related to the case that the Chuschagasta community now has at its disposal. Over the years, Delfín Cata, one of the Indigenous men present during the attack, would call Martel. He never asked about how her film was going, but the director sensed he was tacitly checking in on her progress, hoping that she was not losing faith.

“That was a confirmation that, beyond my own interest, there were people who needed this film,” she says. “I felt the immense satisfaction of knowing I was doing something that would be concretely useful.”

For Martel, the question of whether she was the right person to make this film (one she got in Venice) seems unfair. “It’s wrong to prevent a human being from speaking about their own history because they are not a woman, because they are not Black, or because they are not Indigenous,” she says. “It’s better to make mistakes trying to understand something than not to try at all. The chances of making a mistake are enormous in a film, no matter how good your intentions are.”

A key piece of evidence in the Chocobar case, prominent in the film, is a video that one of the attackers filmed, presumably expecting the Indigenous community to react violently, to justify firing his gun at them. The Chuschagasta men that faced them weren’t armed. As used by their aggressors, the camera functioned as a weapon.

Hollywood feels incompatible with Martel’s sophisticated, confrontational movies rooted in her country’s troubles. By Martel’s own admission, it doesn’t feel like a fit for her.

“I would have to force myself to create something outside my own country, outside my own language,” she says. “And that doesn’t really appeal to me.”

Still, Marvel Studios famously asked to meet with her when seeking a director for 2021’s “Black Widow.” Martel says she was among many directors they contacted, but she was curious to take the meeting even if she knew nothing would come of it.

“They wanted to do it over Zoom and I happened to be here in Los Angeles,” she remembers. “I told them I could come in, because I wanted to see what the whole process was like.”

Martel describes the month she spent in L.A. — an eye injury prevented her from flying home sooner — as a “lot of fun in the end,” even if no blockbuster emerged from it. More recently, another Hollywood offer did tempt her, but she ultimately passed.

“It was a good book suggested to me by an actress of undoubted talent,” Martel shares, careful to avoid names. “I considered it, but you very quickly have to picture yourself spending three years or at least a year and a half living in the United States making a movie. I have a thousand things in Argentina to worry about.”

Still, Hollywood, and its significance to moviemaking, has a singular, unnerving allure on her. Two of Martel’s favorite movies set in L.A. are David Lynch’s nightmarish “Mulholland Drive” and Robert Aldrich’s psychodrama “What Ever Happened to Baby Jane?”

“There is something ruthless and utterly devoid of sanity at the heart of this film industry, and I’ve never felt that darkness as clear as in ‘Mulholland Drive,’” she says. “How can an industry that handles so many millions [of dollars] and such impeccably dressed famous people be so full of lunatics? That film captures that perfectly.”

And occasionally, she thinks, a big production breaks the mold, such as Todd Phillips’ “Joker,” which won the Golden Lion at the Venice Film Festival in 2019 when Martel served as jury president — a controversial choice.

“It certainly had an impact on me,” says Martel. “I didn’t vote for it, though. I had another favorite, a Chinese film that stood no chance of winning.”

Phillips, she thinks, created a premonition for what was to come. “For me, the real killer clowns are Trump, Milei or Orbán,” Martel says, referring to polarizing leaders. “They expose themselves to ridicule and spout all sorts of nonsense. Those are clowns. And I think that movie captured that.”

Not one to mince words, Martel elaborates on the relation of Joaquin Phoenix’s social outcast turned supervillain and President Trump.

“The origin of the Joker is social resentment,” she says. “Trump holds no resentment toward society because the system gave him everything. But he has exploited the people who do harbor resentment. That is where you see the kind of clown he is, one who knows how to use people.”

Artificial intelligence, far-right ideologies, voracious capitalism — all of it makes Martel alarmed, seeing it as pushing us collectively to the brink of collapse. But there is hope, she thinks.

“What we have invented is very dangerous but we can dismantle it,” she says. “That is the only thing I’m betting on, that, at some point, a consensus will emerge and we’ll go, ‘Let’s not do this.’”

“I believe that we must use cinema for its enormous power to alter perception and not soothe the rich,” she says. “It’s not about delivering a message but rather about showing how an idea functions.”

She points to one of her subjects in “Our Land,” an Indigenous man who told her he loves the 1959 Charlton Heston epic “Ben-Hur,” a passion she does not share but understands.

“That’s a blow for all of us who make auteur cinema,” Martel says with a laugh. “That feeling that ‘Ben-Hur’ evoked gave him the strength to continue fighting for his community’s territory.”

The night before our interview, Martel rode around L.A. on a scooter holding onto a friend. These days she uses a cane to help her with mobility. “The city has great light,” she says, still open to being surprised by it.

IF you are stuck for ideas for the kids this summer, no need to panic…just yelp for help and the heroes of hit kids cartoon Paw Patrol will come to the rescue.

As a mum of three, over the past decade I have watched more than my fair share of the hit Nickelodeon kids show which follows the rescue exploits of a team of talking, cartoon puppies under the supervision of 10-year-old boy Ryder.

So when I heard the ‘World of  Paw Patrol’ was opening at Chessington World of Adventures, I knew I could waste no time in assembling my pups to check it out.

The new £15million land vibrantly brings to life the cartoon’s world of Adventure Bay making young visitors feel as though they have just stepped directly into the cartoon.

Cleverly designed with little ones in mind, it covers 1.4 acres, although the land manages to have a safe, self-contained feel.

From the trees, to the vehicles, to the models of the characters which populate the land-they all look exactly like they have been transplanted from the show. 

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And standing, beaconlike at the centre is the iconic Paw Patrol Lookout Tower which famously serves as Pup HQ in the show.

Four brand new rides bring the pup’s adventures to life in thrilling style.

The World of Paw Patrol’s flagship attraction is Chase’s Mountain Mission, a small scale rollercoaster aimed at younger children (although they still  have to be 0.9m tall to ride).

It’s a well thought out experience as children enter the coaster at the bottom of the Lookout Tower via sliding doors – just like in the show where they are then given the sensation of shooting to the top in a lift – again just like in the show.

A video brief on their ‘mission’ tells them the town’s chicken mad and gaff prone Mayor (who ardent viewers know is often the subject of rescue efforts) has been left stranded on a tightrope thanks to a pesky, baguette eating eagle and kids are asked to help.

Young adventurers then emerge at the rollercoaster’s loading station for the ride – while hardly white-knuckle, it has a few bends and zips along at a pace perfect as an entry level rollercoaster for more nervous riders.

But our family favourite Paw Patrol was without doubt Zuma’s Hovercraft Adventure.

The orange boats look exactly like they could have floated straight from the show.

There is a claim to fame here too as it is the UK’s first ‘drifter’ ride meaning it gives the sensation of hovering above ground.

It is super spinney and fast and kids get to pull a leaver in the car to make it rocket  out at an angle.

It’s thrilling, kind of like a cross between a bumper car and the fairground waltzer. 

Even my eldest son who is 12 wanted to repeatedly ride this one…

Marshall’s Firetruck Rescue sees young thrillseekers whooshed around  horizontally, yet  fairly gently,  in a giant red bus.

“It makes my tummy go funny!” Estella squealed with glee. 

And youngsters get to soar high in the sky again above World Of Paw Patrol in soar high in Skye’s dazzling pink helicopters.  

At its centre of the land isn’t the rides but ‘Rubble and Rocky’s Playzone.’

This is a gloriously, undulating and colourful play areas where younger visitors can explore Adventure Bay on their own terms.

They can crawl through tunnels, barrel down mini slides and clamber around the familiar sites from the show like Rocky’s waste truck and Captain Turbot’s Sea Patroller.

There is also a cute designated snack stand serving Paw Patrol branded treats and, of course, the obligatory gift shop – but parents beware, because boy what a gift shop it is!

For pup mad kids it will be heaven with aisles and aisles of every piece of Paw Patrol merchandise you can think of, including an entire wall of soft toy versions of the characters.

And if you are parent to a total pup nut you might consider an overnight stay in one of the five brand new PAW Patrol-themed hotel rooms at Chessington’s resort hotel. 

Each room sleeps up to two adults and three children. 

Young ones would no doubt happily spend all day in World of Paw Patrol, but if course entry price also gives you free reign of all that Chessington has to offer including animal attractions, shows and brilliant thrill rides.

So for a family like mine, with kids spanning in age from 5 to 12, it offers a great day out with something for everyone.

What could be more Pawsome than that?

Tickets to Chessington start from £32pp while PAW Patrol hotel stays start from £155 for a family of four (including breakfast, early ride access and bronze fast-track pass)

Not every crowd will gleefully applaud and cheer a known notorious villain. But the Disneyland faithful certainly will, as when Darth Vader set foot in the park’s Star Wars: Galaxy’s Edge on Wednesday morning and the audience erupted in approving hollers.

Kylo Ren has officially been evicted from the fictional “Star Wars” town of Black Spire Outpost. Vader has instead taken up residence, and he will appear multiple times daily in front of the land’s militaristic TIE fighter before stalking the area on the prowl for Luke Skywalker.

In Vader’s first two appearances Wednesday, he spoke of his quest to hunt down the young Jedi. He was flanked by two classic Stormtroopers, who had different dialogue in each showing — one time critiquing Black Spire Outpost and later talking of a run-in with a Jedi.

Vader isn’t the only new addition to the area. Leia, Han and Luke, the latter of whom previously appeared in the land for a limited time last year, are also now regularly appearing in Galaxy’s Edge.

Their presence marks a major shift in direction for the 14-acre theme park land. When Galaxy’s Edge opened in 2019, it was set at a fixed point in the “Star Wars” timeline, namely one in the middle of the latest films in the series.

This was done in part to promote the new cinematic works, but to also facilitate interaction, placing guests on an unknown adventure rather than one with a fixed outcome. It was a theme park experiment to see how much Disneyland attendees would lean in and role play.

But Disneyland wisely hasn’t completely pivoted on the Galaxy’s Edge mission. The characters appear out in the land and on a quest rather than simply standing and posing for photos.

Leia, for instance, spent the bulk of one appearance working with the furry Chewbacca to fix up the starship Millennium Falcon. Later, she joked around with Luke and asked young fans if they wanted to train to learn the ways of the Force.

We’ll have more on the changes to Galaxy’s Edge and what they mean for the future of Disneyland in our theme park newsletter, Mr. Todd’s Wild Ride.

For years, the NFL has playfully scoffed at conspiracy theories its drama is scripted.

Now, the league has hired some of the best writers in the entertainment industry to do just that.

The NFL is going Hollywood, looking to expand its audience with theatrical motion pictures and its first scripted streaming series. This isn’t just about using the names and logos of real NFL teams, but diving headlong into storytelling about the league in the form of upcoming movies — one about John Madden, another a Christmas Day release about an unlikely hero for the New York Giants — and “The Land,” a dramatic Hulu series centered on fictional characters and the Cleveland Browns starring Christopher Meloni, Mandy Moore and William H. Macy.

It’s the next step in the partnership between the NFL and Skydance Sports, the forming of a premier content studio aimed at creating must-watch storytelling and attracting everyone from hardcore football fans to people who otherwise have no real interest in the game.

The NFL has long contended it’s the world’s greatest reality show and the numbers support that. According to Sportico, NFL games were 84 of the top 100 most-watched television shows last year. And the year before, it was 93 of 100.

“When you have an audience as big as the NFL’s, there are a lot of different demographics to service and engage even more deeply,” said Jason Reed, who heads Skydance Sports. “Those movies work as a fan service. They service towns, fans of those franchises, and they really connect. What they also do is pick up this other group of people who maybe wouldn’t watch a football game.”

Pulling back the curtain on the league is a challenge. The NFL isn’t likely to sanction unflattering content, at least not much of it, yet the goal is to make the stories as realistic as possible. How will the writers handle issues such as concussions, drug use or domestic violence? That was addressed in a presentation at last month’s owners meetings by JW Johnson of the Haslam Sports Group, who oversees the business strategy of the Browns.

“We don’t want this to be — no offense to our friends at ESPN — a ‘Playmakers’ situation,” said Johnson, referring to the popular but short-lived series on the Cougars, a fictional football team, that explored mature themes and was canceled after one season after pressure from the NFL. “We want this to be a really fan-friendly show that also has the authenticity of what happens in a locker room and on the field. We’re very comfortable with it.”

David Corenswet as “John Tuggle” and Isabel May as as “Katie” in Mr. Irrelevant: The John Tuggle Story,” from Paramount Pictures.

(Sarah Enticknap / Paramount Pictures)

Dan Fogelman, creator of “This is Us,” and a lifelong football fan, had long envisioned writing a dramatic series based on his favorite sport. That led to “The Land,” which began production last fall and does not have an official premiere date.

“We’re not making this stuff up out of thin air,” said Fogelman, who also created the Hulu series “Paradise,” a post-apocalyptic political thriller. “The characters are flawed and they do bad things, but the NFL has been great about that. I was worried up top, and it just hasn’t been an issue because we’re not out there looking to be salacious. We’re not trying to do ripped-from-the-headlines, crazy, exaggerated versions of reality. We want things that really happen, done accurately and in a cinematic way.”

To that end, he brought in actual NFL players as consultants to help with the storylines and make sure the details make sense.

“We had a bunch of NFL players come and visit us in our little office, and we’re on the second floor,” he said. “Some of my heroes were in that room. I was genuinely concerned the floor was going to fall through.”

Enter NFL Films, which for more than six decades has turned a violent sport into an art form, filling the frame with meticulous focus on a Matthew Stafford spiral — and without the benefit of a second take. Those camera operators are heavily involved in the production of both the upcoming movies and the streaming series.

“That’s our whole thing,” Reed said. “How do we support great filmmakers and make sure they know how to access the resources and expertise that NFL Films has developed over 60 years, and combine those two together? That, to me, is the secret sauce of the venture.”

What’s more, what the father-and-son combination of Ed and Steve Sabol created in NFL Films provides an incredible library for future projects.

“The well is infinite,” said Jessica Boddy, vice president of commercial operations and business affairs for NFL Films. “We’ve only scratched the surface.”

For Fogelman, “The Land” is scratching a creative itch he’s felt since childhood.

“I’ve wanted to do this show for 20 years,” he said. “I’m a failed athlete myself. My connection with my father growing up — he worked a lot — was I grew up in Pittsburgh as a Steelers fan and also migrated to New Jersey, where we became Giants fans. My dad would let me watch games with him if I was quiet and didn’t act goofy. We would also throw the football back and forth.

“Now, many decades later, my father is 83, and our connection is that we talk every Monday after Giants games. He now talks with my son and me. For me, football has been very much in the fabric of my life and my relationship with my friends. This has been something I’ve been chasing for a very long time.”

Passengers have been following these instructions for years, but a cabin crew member has now explained the important aircraft safety reason for keeping window blinds open during landings take offs

Have you ever wondered why cabin crew insist we keep the window blinds up when planes are taking off and landing? If you have, you’re certainly not alone – even frequent flyers are only now learning the reason behind this rule.

The explanation came to light following a video posted by traveller Quinn Kuntz. In footage filmed from her seat, she asked: “Can someone explain why European flights require the window shade to be open for landing? They are so strict about it.” Quinn concluded by pondering whether the rule applies “everywhere”, adding: “I just wanna know why.”

In response, cabin crew member Amelia Richardson was swift to provide a thorough explanation.

“Cabin crew here – lights off in hours of darkness – your eyes are adjusted to darkness in case of evacuation,” she began. “Window blinds open – danger can be seen outside and emergency crews can see in. Tray tables and bags under seats – saves critical seconds in an evacuation.”

Amelia went on with further instructions: “Emergency exits remaining clear – again saves critical seconds, emergency exits are a lifeline in an evacuation. Just remember an aircraft must be evacuated within 90 seconds. Listen to cabin crew, follow the rules. Everyone’s happy.”

A second person added: “Safety. There are no wing or rear view mirrors on a plane. It is so the passengers and crew can alert the pilot of anything untoward.”

A third concurred, writing: “In case the passengers notice something the pilot can’t or doesn’t see. Just an extra precaution.”

Meanwhile, a fourth TikTok user explained the rule has been implemented across the globe.

“Simple: if there a fire or emergency, flight crew needs to see what’s happening so they can better choose which side to evacuate passengers,” they said. “This is an international regulation. It’s worldwide they do this!”

Indeed, pilot school, BAA Training confirms this is correct in guidance on its website.

“The first reason is your safety,” BAA advises.

“If anything happens during a take-off or landing, your eyes will already be used to the day or night light outside, thus you will be able to react more quickly.”

The firm goes on to state: “Another reason for keeping the blinds open is visibility of aircraft outside. If any problems occur with the engine or wings, the crew can see it out of those tiny round windows in a cabin.”

“If the aircraft needs to be evacuated, passengers and the whole crew is able to see which side of the aircraft is safer for evacuation.”

Jeremy Clarkson’s choir has reportedly landed a starring role on his new series after wowing with their Britain’s Got Talent audition that sent them straight to the semi-finals

Jeremy Clarkson’s choir has landed a starring role on his new series after wowing with their Britain’s Got Talent audition. The former Top Gear presenter, 66, has documented the ups and downs of Diddly Squat in the Cotswolds on his Amazon Prime series Clarkson’s Farm since 2021, with a fifth batch of episodes expected to be released later this year.

Just weeks ago, Hawkstone Farmers’ Choir auditioned for the ITV reality competition and managed to win Amanda Holden’s Golden Buzzer, sending them straight through to the semi-finals after wowing with a rendition of Elbow classic One Day Like This. Just prior to belting out the famous track, member Katrina explained to the judges that Jeremy himself had set the choir up, having been sponsored by the Hawkstone Brewery that the TV star co-owns in the Cotswolds.

With the live semi-finals of Britain’s Got Talent just weeks away, insiders have revealed that the group of more than 30 farmers, will also enjoy another television stint with a role on the next series of Clarkson’s Farm.

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A source said: “Filming for series five is well and truly under way and the finished show is likely to air next year. Fans will, however, be able to see series four in a matter of weeks, though according to Jeremy it’s a rather darker season than we’ve been used to.”

Speaking to The Sun, the source added: “Hawkstone Farmers’ ChoirBut the appearance of the Hawkstone Farmers’ Choir in the following outing is going to make it more uplifting. They’re going to have to get used to being even more famous though.”

Just after their success on BGT was aired in March, Jeremy took to social media to congratulate them. He said: “I watched Britain’s Got Talent tonight for the first time because the Hawkstone Choir were on and they were just fantastic.

“These guys are all farmers and they work incredibly hard for really incredibly small rewards, and to see them all on that stage with all that love in the room made my heart sing – I actually welled up.”

While visibly holding back tears he went on to thank Amanda Holden for pressing the Golden Buzzer. He added: “It shows that people quite like farmers. They were very very good, well done all of you. I’m a very happy man tonight.”

The short video attracted comments from fellow BGT viewers, one wrote: “I was crying like a baby, the sentiment, the emotion, they’re sensational. They Will Win.” Another wrote: “Truly awesome really heartfelt.”

Speaking about getting the Golden Buzzer, Katryna Shell from Northumberland said: “The choir has turned into something so much more than singing…

“We have come together as a community, something I didn’t even anticipate. The choir is filled with all sorts of people with varying ages, singing experience, parts of the country, but we all have farming linking us together – it’s like nothing I’ve ever experienced before.”

Hugh Thomas, from Pembrokeshire said: “I had to pinch myself – this was really happening to an old boy from Pembrokeshire! Performing on National TV wasn’t something I ever envisaged… More importantly it will shine a light on agriculture, farming and the rural economy.”

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The new land will add playful puppy-themed fun to Chessington and comes with new rides, places for kids to play, as well as meet and greets with the much-loved hero doggy characters

Chessington World of Adventures has finally revealed the opening date of its long-anticipated PAW Patrol land, and parents will be pleased to hear that the gates will be open to meet the pups before May half-term.

From May 3, kids and their parents will be able to enjoy a brand-new and very colourful PAW Patrol-themed area at Chessington in a new £15 million immersive experience.

The date also coincides with the early May bank holiday, so parents may wish to book Chessington tickets now to avoid missing out on this paw-some experience. At the heart of the new land are four kid-friendly rides, each one inspired by a different pup from the brave crew.

The land’s four new rides are: Chase’s Mountain Mission, Marshall’s Firetruck Rescue, Skye’s Helicopter Heroes, and Zuma’s Hovercraft Adventure, which also claims to be the UK’s first ‘Drifter’ ride. The 1.4 acre land will also have three themed play areas, perfect for little pups to burn off energy, and include Rubble & Rocky’s Play Zone where they can climb and crawl through a maze of construction parts.

At The Flounder Boat Play, kids can enjoy a high-seas adventure with Captain Turbot, and there will also be themed food and drink offerings throughout the area. And of course, there will be a gift shop with plenty of PAW Patrol themed merch to take home as a souvenir. Regular meet and greets will also take place, so kids can get a photo with their favourite hero.

And if simply spending the day at Adventure Bay wasn’t enough, fans of the pups can also book a PAW Patrol themed room at the resort’s hotels. These colourful and fun rooms are fully-themed including bunk beds shaped like the pups’ rescue vehicles and colourful murals. Guests also enjoy early access to the park from 9am, allowing parents with young kids to get on the rides with minimal queues.

The park is the UK’s first and only land themed around PAW Patrol, a series that has become massively popular among pre-schoolers. The series airs on Channel 5 and Nickelodeon, as well as streaming on Paramount+.

Chessington isn’t the only park getting a new themed land this year. Over at Paultons Park guests will be able to enjoy the new Valgard — Realm of the Vikings land from May 16. This will include a new rollercoaster and swing ride.

Crealy Theme Park is also adding two new rides to its offerings for summer 2026, although dates are still to be confirmed. This includes Pirates’ Plummet, which claims it’ll be the tallest ride in the south west, and Rotor, an inverting flat ride which will spin passengers around and upside-down for a “heart pounding adventure”.

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