life

Samantha Morton didn’t mean to start humming during that scene in “The Odyssey,” the scene everyone is talking about, when, as the sorceress Circe, she turns Odysseus’ men into pigs, literally molding them into their true savage selves.

It wasn’t in the script. It just happened. And when Morton was done, she looked over to director Christopher Nolan, waiting for him to say something like, “Maybe try it without the humming, Samantha.”

But Nolan didn’t say anything, so Morton did it again and the music that was swirling inside her head, which she remembers now as a symphony of glass harmoniums and theremin, kept coming out as Circe went about her witchy business, altering her gluttonous guests, who are busy slurping and gulping down her stew.

“These are sounds that can make you go mad, apparently,” Morton, 49, tells me, reclining on her bed at the Hotel Chelsea in New York. “So to transform the men, the magic came not just from my hands but from my sounds.”

Samantha Morton as Circe in “The Odyssey,” directed by Christopher Nolan.

(Melinda Sue Gordon / Universal Pictures)

Morton unabashedly believes in magic. How else, she asks, can you explain how a girl who was shuttled between children’s homes and a dozen foster families, only to be living on the streets of Nottingham, England, at the age of 14 with a criminal record, be here talking with me now, sipping green tea at the Chelsea?

“That’s got to be guardian angels and love — and not that I suddenly became good at acting and got a job,” says Morton, a veteran who’s been at it for 35 years, dazzling audiences and stealing scenes for the likes of Steven Spielberg, Jim Sheridan and, now, Nolan. “I’ve always believed that anything is possible and there’s no doubt in here,” and she pats her heart, “because I’ve always felt this immense love for me from another entity.”

When Morton heard that Nolan wanted to meet her for “The Odyssey,” she says she wept. If that sounds dramatic, she makes no apologies. She likens it to being an athlete who qualifies to represent their country at the Olympics. She’d spent decades honing her craft for that phone call. When it came, she flew to Los Angeles in January 2025 during the wildfires, embarking on what would become the best job interview of her life.

I ask her what she remembers about that meeting.

“I think it went really well,” Morton answers, laughing.

Morton told Nolan she hadn’t read “The Odyssey,” which, when you quit school at the age of 12, makes sense. Flying back home to England — she and her husband live in East Sussex with their children, 18-year-old daughter Edie and 12-year-old son Teddy — she recalled that, yes, she knew a bit of “The Odyssey” from having seen it parodied on an episode of “The Simpsons.” (“We’re ‘Simpsons’ mad in our house,” she says. “Like, mad.”)

But Morton doesn’t believe in bogging herself down in research, not since starring in a British TV production of “Jane Eyre” when she was 19 and carried around a heavily highlighted copy of the Charlotte Brontë book, despairing whenever the adaptation deviated from the novel. From that point on, she stuck to the script and her own imagination.

“That’s got to be guardian angels and love — and not that I suddenly became good at acting and got a job,” says Morton of her career. “I’ve always believed that anything is possible.”

(Ebru Yildiz / For The Times)

Thinking about Circe, Morton recalled going to the library with her dad (“We had nothing and were beyond poor, but he always had a library card,” she says) and finding the Howard Pyle fairy-tale book “King Stork.” She remembers being mesmerized by the story’s wicked witch. She recalls other witches from folk tales like Baba Yaga, frightening characters but also, she says, “women possessing an innocence that had been eroded over the years by the harshness of life.”

Morton does a playful verbal evasion when discussing the nuts-and-bolts aspects of shooting the scene where Circe transforms Odysseus’ men, saying that back in the day when behind-the-scenes features were prevalent on DVDs, she routinely declined to participate.

“I didn’t mean to be tricky, but it was like: This is my private moment. This is for me,” she says. “I do like the idea of a little mystery.”

But then a beat later, she laughs it off and dives in, remembering that her husband showed her an Instagram post from Nolan’s set revealing how the movie’s Cyclops was, in fact, a puppet.

“Oh my gosh — I love puppets!” Morton raves, and off she goes, telling me how much she adores Jim Henson and how “The Dark Crystal” is one of her all-time favorite films.

What she will say about her “Odyssey” scene is that there were no digital effects. Everything was real and “in camera” and that she was so in the zone that she barely remembers any of it, only flashes.

“That’s not CGI,” Morton says. “That’s human brilliance and a connectivity of me as a performer, almost dancing and feeling one. And not to say that it was sexual, but I wanted it to be very sensual when she’s with the men and the animals, just like, you know, that she’s almost one with them.”

“What was lovely about that,” Morton begins and then stops, wondering if she should draw back the curtain on the creative process. She goes ahead. “There was a day on set when Chris was like, ‘OK,’ and he put his hand in because I was a little scared. It’s like that scene in ‘Raiders of the Lost Ark’ where he puts his hand in the thing, and you’re like, ‘Oh no!’ I was a little nervous, but Chris did it first. I think he actually cut his finger.” She giggles. “You know, he’s going to go in first, like getting into the cold water in the sea. I felt protected and supported in that whole process.”

When Odysseus’ men arrive at Circe’s home, hungry, asking to be fed, Circe seems frightened — understandably so. She’s alone, and these soldiers have a history of pillaging and taking what they want. And yet, she’s a powerful sorceress. Is Circe really scared or tricking them to lure them in?

“I played that like she was genuinely frightened because she was caught off-guard,” Morton says. “I also wanted to play somebody that was all ages, so I played her like a 16-year-old girl in that scene. And then in other scenes, I’m playing her as a 90-year-old woman or a 49-year-old woman or a sister or a mother, a grandmother. I just wanted her to be ageless.”

Morton, looking out for Circe, stresses that transforming Odysseus’ men was not purely vengeful.

“It’s not just hate,” she says. “It’s not just harm. It’s not just anger. It’s almost like a Zen master within the goddess role of the teaching as well. ‘Be careful what you wish for,’ gluttony, greed, all of these things.”

There’s a righteous feminist rage underneath the scene as well, a modernization that brings “The Odyssey” fiercely and disturbingly up to date. It’s another reason why people leave are leaving the theater talking about Morton.

“In some weird way, the film lived or died over that character,” says director Nolan of Morton’s Circe, a creation of pure acting and no digital sorcery. “She was the fulcrum.”

(Ebru Yildiz / For The Times)

Nolan thinks “The Odyssey,” in some weird way, “lived or died over that character — she was the fulcrum.” He told The Times that “after one of her takes, the crew gave her a great round of applause.” Emma Thomas, Nolan’s producing partner and wife, later recalled that the last time that had happened was with Heath Ledger on “The Dark Knight.”

Morton makes a point of telling me how much Ledger meant to her, having been cast opposite him (and Odysseus himself, Matt Damon) more than 20 years ago in Terry Gilliam‘s 2005 fantasy adventure “The Brothers Grimm.” Miramax chief Harvey Weinstein overruled Gilliam, dropping Morton from the film because, in his eyes, she wasn’t attractive enough.

“And Heath fought for me with such kindness and compassion,” Morton says. “He’s up there with Philip Seymour Hoffman for me. There’s something otherworldly personal about what they gave, such sincerity and vulnerability and an absolute dedication to craft. They leave a mark on your heart.”

It’s not the first time Morton has invoked the heart in our conversation. She brought her son, Teddy, to New York for the premiere of “The Odyssey” because she wanted to show him the place where her creative spirit was born. Morton first came to New York as a teen to do press for “Emma,” returned a year later to promote “Jane Eyre” and then couldn’t bring herself to leave, “sofa-surfing” at friends’ apartments so she could immerse herself in the city.

“New York stole my heart,” Morton says. It’s where she first got into literature, devouring Charles Bukowski, roaming the aisles at the St. Mark’s Bookshop, checking out movies from Kim’s Video and gobbling hash browns and eggs over easy at the Waverly Diner.

Not long after, Morton scored the role that would land her the first of two Oscar nominations (for now, at least), playing the mute laundress in Woody Allen’s “Sweet and Lowdown.” The production put her up in a Greenwich Village apartment and when it ended, she moved to the East Village.

Only the diner remains but Morton still plans on touring the Village with Teddy, showing off all of mom’s old haunts and, yes, having a cup of soup at the Waverly.

“Life is good right now,” Morton says, smiling. “Who knows? Maybe I’ll indulge in some hash browns.”

There are many dedicated figures devoted to Chicano empowerment in America. But in the arts, playwright-director-impresario Luis Valdez — the migrant farmworkers’ son behind the defiantly consciousness-raising El Teatro Campesino and the historic hits “Zoot Suit” and “La Bamba” — holds a singular place, achieved with remarkable perseverance. It’s a trajectory that the immensely appealing, rollicking documentary “American Pachuco: The Legend of Luis Valdez” tracks with a vitality and purpose befitting its subject.

Anchored by Valdez himself, now in his 80s and filling the camera frame like a grandfatherly lion, the film supplements his vivid biographical details with rich archival footage and testimonials from family members, collaborators and peers. There’s also the bold but sneakily effective narrator choice in Edward James Olmos, reviving his snarling, star-making El Pachuco growl from “Zoot Suit” to remind us of one of Valdez’s essential contributions to the theatrical canon. (Olmos is also an interviewee, as is Cheech Marin, Taylor Hackford, Lou Diamond Philips and labor leader Dolores Huerta.)

Born in Delano, Calif., and drawn to literature and language as a way to combat racist assumptions about a Mexican American’s destiny, Valdez found his gifts sharpened by puppet shows, school plays and finally, the union movement in his hometown. Valdez saw that pointed, raw satire was not only necessary but a recruitment tool for the fight. We hear the underdog aesthetic term rasquachismo used to describe these early impromptu performances: essentially a colorful funkiness, “so funky that nothing can undermine you,” Valdez says. As if something earthier and stronger had been harvested in the fields with all those valuable grapes.

After the labor battles of the Vietnam War era, Valdez took El Teatro Campesino’s mission nationwide. Excerpts from a televised adaptation of his play “Los Vendidos (The Sellouts)” — about a shop selling automatons representing Chicano stereotypes — underscore the continuing tensions of assimilation, a trap disguised as acceptance. But the piece also reflected feelings Valdez had about his long-estranged brother Frank, an engineer whose alienating efforts to deny his own background and fit in formed a heavy undercurrent in Valdez’s life.

“Zoot Suit,” an ambitious, musicalized, slang-flavored staging of the violent injustice behind L.A.’s notorious 1943 Zoot Suit riots, became a smash in 1978 (its narrow-minded New York reception notwithstanding). The story of how the Ritchie Valens biopic “La Bamba” came to be — a delicate mix of legacy tending and savvy casting — is similarly rousing and illuminating, even if it seems like an omission not to dig into why, after such a big hit, more movies didn’t follow. (Although, since this is Hollywood, we can guess the reasons.)

There’s so much to chew on in David Alvarado’s portrait of life, art and activism that “American Pachuco” plays like a joyful challenge to those searching for their own voice or meaning. As engaging a chronicler of his own life as Valdez is, his lessons in how to be seen and heard — and how to stay that way — feel especially timely. In our demonizing present, the story of such a pioneering truth-teller speaks powerfully to the needs of our blended American future.

In 2007, for the first time in recorded history, more humans were living in urban spaces than rural ones. The animal kingdom has followed suit. In our cities, we are surrounded by synanthropes — wild animals that have adapted to human-modified environments and have learned to thrive in them — yet most of us are unaware of the biodiversity of this urban wildlife and how it functions along a parallel track with its human brethren.

Dan Werb’s latest book “Our Wild Familiars” explains how these “soil churners … epidemic vectors and ecosystem partners” have a crucial role to play in the future sustainability of our communities. I talked to Werb about coyotes, the health benefits of birdsong and seagulls with junk-food issues.

✍️ Author Chat

You are an epidemiologist.

I was trained as a social epidemiologist — somebody who can look at how societal factors influence the health of populations. I study how society determines who lives and dies, who is sick and who is healthy.

I’m wondering if it was your interest in Zoonotic viruses that led you to this subject?

The last book I wrote was called “The Invisible Siege.” It is an overview of the history of coronavirus science, starting in the ‘80s, braided with the much longer history of the coronavirus family. And it ends with this scientist who is describing being in northern Thailand and moving through Myanmar and Yunnan Province in China in the ‘90s. And he stumbles upon this exotic animal market near the Shan Autonomous state, which is an ethnic enclave in northern Myanmar that’s been at war with the junta there forever. And this market’s got cloud leopard skins, civets and every crazy, exotic animal that you can imagine. And they were all being sent directly into China. And it’s exactly this kind of trafficking that is carrying all these viruses, like this superhighway of exotic animals into urban areas.

But not all urban animals are vectors for disease. In fact, we have fostered very cushy urban environments for many different species. Pigeons, for example, who don’t have to fly in cities because they have no natural predators.

Chris Shell, a coyote expert from Altadena that I interviewed, pointed out that pigeons do have to worry about predators now, because there are red tail hawks and coyotes and other creatures. Our urban ecosystems are becoming more complex. There are some biologists that are describing our time right now in North America as the great urban shift. They’ve done modeling exercises showing that over the next few decades there are literally going to be thousands of species moving into urban areas. They’re increasingly going to be mega-fauna, much larger animals.

Why is that happening?

We’re seeing the continuing acceleration of the transformation of wild spaces into human modified spaces. But it’s also because of extreme weather events. If you look at the horrible fires that occurred in Los Angeles last year, one of the things that happened was hundreds of thousands, even millions, of animals had to flee those areas that were on fire, and they fled into urban areas. What do urban areas provide? Constant sources of freshwater, continual sources of food waste, and other prey. You’ve got climate change happening, and that’s causing this real shift of animals moving into different places.

Dan Werb, author of “Our Wild Familiars,” a new book about wild animals who’ve managed to survive in human communities.

(Joseph Fuda)

What about a less traditional metropolitan space, like L.A. County, which is a hodgepodge of so many different kinds of topography and terrain.

L.A. is super fascinating because lot size isn’t directly related to income. It’s very much more heterogeneous and variable, even within neighborhoods. The wealthier a neighborhood is, the higher the biodiversity is going to be, because we’re going to have larger lots, more green space, fewer fences, things like that.

We have a complicated relationship with coyotes in L.A., especially those of us who have lost pets to them. But according to your book, we have trapped them in our cities.

Coyotes need to have pathways that allow them to move in and out cities. As it is now, they move into urban environments looking for food and water, and they can’t get out. They get trapped in cities, and conflict happens. Like black bears in suburbs across large parts of North America that dig into people’s garbage.

And bears and other animals eating, say, fast food leftovers is a nutritional disaster as well.

It’s like an ecological trap. They see no reason why they would leave, even though staying is actually more dangerous for them. And there are all kinds of ecological traps across cities that manifest in different ways. One that I always think about is seagulls at the seashore that have evolved over tens of millions of years to be able to hunt fish and shellfish. And the fish are right there, yet they’re eating french fries because it’s slightly less work.

You mention the Wallis Annenberg Wildlife Crossing that spans the 101 freeway in Agoura Hills, the first animal crossing of its kind in America, as a potential solution to this problem.

I think it’s great. One hopes there will be more projects like that undertaken in other cities around the world.

We’ve discussed all the rotten things that are going on with animals in cities. Why is it a wonderful thing that animals have come into our cities and our lives?

If we hear birdsong, we’re less stressed. If we hear additional birdsong, it multiplies the stress-relieving effect. Being close to animals is biologically beneficial for us. It’s really about connection. I look at AI, and there’s this kind of sense that an AI chat bot can decrease loneliness. But it’s just an echo chamber. I think a true connection is bridging some kind of divide in the way that you think or perceive the world. And in that sense, being aware of an animal who is aware of you takes you out of yourself in a way that I think is really, really special.

This Q&A was edited for length and clarity.

📰 The Week(s) in Books

Book jacket for “You Won’t Get Free of It: Stories of Mothers and Daughters” by Rachel Aviv

(Los Angeles Times illustration; book jacket from Knopf)

The ostensible topic of Rachel Aviv’s new essay collection, “You Won’t Get Free of It,” is mothers and daughters, but according to Julia M. Klein, Aviv’s sparkling, sharp-eyed pieces “involve the slipperiness of truth and the crushing inadequacy of our mental-health system and social safety net.”

“Cool Machine,” the final volume of Colson Whitehead’s Harlem trilogy, is an “American epic disguised as a heist novel,” writes Leigh Haber. “Whether or not New York is your jam, or a place you have escaped from or to, Whitehead’s Harlem Trilogy is destined to live on as an American classic.”

Whitney Friedlander profiles Jessica Knoll, one of America’s most successful authors of sexy thrillers that “depict the absolute worst things one person could do to another — but in such a sensational, tongue-prickling-sour-candy kind of way that her books come off as devilishly evil beach reads.”

Finally, Dan Tana’s book about his legendary, eponymously-named restaurant in West Hollywood, “Everybody Came to Tana’s,” has been posthumously published. Sixty-two years after the restaurant’s opening, it’s still a tough reservation to snag. “In a town that’s always trying to be something that it’s not, it’s not trying to be anything,” his daughter Katerina tells Maddie Connors. “Dan Tana’s is longevity in the midst of ephemera.”

📖 Bookstore Faves

The Philosophical Research Society is a Los Angeles Historic Cultural Monument in Los Feliz.

(Philosophical Research Society)

There is nothing else in L.A. like the Philosophical Research Society. The nonprofit was founded by scholar Manly Hall in 1934 as a place for the curious to explore wisdom, philosophy, mysticism and mythology across all cultures. Its visually striking Mayan Revival Los Feliz campus, a Los Angeles Historic Cultural Monument, features an auditorium, a gallery and a library of 30,000 volumes. The PRS bookshop is its own gem, a well-curated miscellany of books for spiritual seeking and enlightenment.

In a joint email exchange, PRS staffers dama, Jarrett Schaefer, Kelly Carmena and Amanda Brass explain what makes the store a sui generis experience.

How does the bookshop tie in thematically with the Philosophical Research Society?

The PRS Bookstore is a reflection of all that we do here at PRS. It is an extension of the library created by Manly Hall where you will find foundational texts in alchemy, mythology, philosophy, astrology, and art. You will also find a selection of books based on themes explored in our talks and screenings and from recommendations made by the team at PRS.

It’s a very well-curated inventory of new and secondhand books — I assume you’re very careful about what you stock on the shelves.

We select works that are meaningful to us and hope that they will resonate with everyone too. We highlight works by mystics and visionaries. In our staff recommendations section, you’ll find titles like Ben Caldwell and Robeson Taj Frazier’s “Kaos Theory,” art books by Penny Slinger, Betye Saar and Remedios Varo, Yoko Ono’s “Grapefruit,” “Red Tarot” by Christopher Marmolejo, “The Bhagavad Gita,” and “Time, Myth & Matter” by LD Deutsch. We also feature items from local artists like Moss Candles, Black Willow Jewelry, and perfume by Syd Botanica. Our secondhand books are donation-only and are a kaleidoscopic bag of surprises.

The Philosophical Research Society features an auditorium, a gallery, a library of 30,000 volumes and a bookshop.

(Philosophical Research Society)

What book genres tend to sell well?

Esoteric art, mythology, tarot and divinatory practices, ancient philosophy, and hermeticism are all popular subjects. The top-selling book every year is Manly Hall’s seminal work “The Secret Teachings of All Ages,” which is an encyclopedic outline of symbolic philosophy. The used astrology books and children’s books are quite popular too.

Do you have author events?

We’ve hosted book talks with Mark Mothersbaugh, Michelle Coltrane, Mitch Horowitz and Susan Orlean. We regularly co-present events with publishers like Hat & Beard Press, Angel City Press, the Library of Esoterica, Sky Press, Ouroboros Press and Bibliomancers. There are also monthly events that are centered around the bookstore: The Manly Hall Book Club, Astro Study Group, Surrealist Study Group, Tarot Salon and an Esoteric Game Night.

Philosophical Research Society is at 3910 Los Feliz Blvd. in Los Angeles.

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

Eighty years ago, though the Arsenal of Democracy had vanquished the Axis and weathered a withering Depression, the recovering American people found themselves rich in bills but short on laughs. Enter Dean Martin and Jerry Lewis, who debuted together on July 25, 1946.

Unlike Laurel and Hardy, Abbott and Costello, or Hope and Crosby, who relied on tightly scripted setups, this disparate yet kindred duo captured America’s heart by being viscerally, uproariously and unpredictably wild.

Martin and Lewis were the founding fathers of an anarchic, side-splitting brand of comedy that combined pratfalls, ad-libbed wordplay and a sustained demolition of the fourth floor. Orson Welles observed that the duo’s combustible zaniness was so hilarious that it made you wet your pants.

The boys cavorted about the stage, kibitzing with bandleaders and the audience alike. In between trading impromptu quips, Martin and Lewis overturned tables, cut ties, sheared suits and spritzed seltzer on one and all.

The suave, dashingly handsome Italian crooner clowning around with his gawky, rubbery Jewish buddy brought the house down every time. It was nonstop, jocular pandemonium: Commedia dell’arte 2.0.

“Saturday Night Live,” Second City, David Letterman, Jerry Seinfeld and Adam Sandler all owe a debt to the artists who started life as Dino Crocetti and Joseph Levitch.

Martin and Lewis created a novus ordo seclorum, in its way innovating like America’s founders, spawning a new comedic order of the ages.

Their alchemy was as ineffable as it was infectious. Variety’s first review of the act noted, “All they do cannot be detailed, but virtually every bit of it is good for solid laughs.” Carl Reiner similarly declared: “I saw what I thought was the funniest ad-libbed thing I had ever seen. It was a riot, and we never stopped laughing.”

In their own madcap way, Dino and Jer epitomized Cicero’s notion that comedy is the imitation of life, the mirror of custom and the image of truth.

Martin and Lewis became the monarchs of all media, conquering radio, nightclubs, television and the silver screen. In 1948, they appeared on Ed Sullivan’s first television show, “Toast of the Town.” From 1950 to 1955, the Martin-and-Lewis-hosted “Colgate Comedy Hour” frequently bested Sullivan in the ratings.

When Hollywood beckoned, the boys answered the call, cavorting, cutting up and reconfiguring reality on the silver screen. They starred in 16 films, bringing their boisterous bromance to capacity-crowd movie theaters.

Though their big-screen adventures could not capture the comedic chaos of their stage act, Martin and Lewis transformed even the most pedestrian screenplay into box-office gold. As film critic Ciara Maloney explained, “Their brilliance shines through the weakest material: the ineffable, bewitching something between them — an intimacy, an immediacy, an ingenuity — frozen in amber for those of us who would never see it in the Copacabana.”

The essence of this duo was the outré interplay between the Prince and the Putz, the Leading Man and the Monkey. Though he was the comedian by trade, Lewis fully credited Martin as the “genius” of the pairing: “He kept the center. He was the spine of the act. And the monkey was constantly attached to that spine, on the spine, next to it.”

From “Sailor Beware” to “The Stooge,” “Living It Up” and “Artists and Models,” theirs was a comedy partnership that came to symbolize America. It is little wonder that presidential historian Tevi Troy called the 1950s “The Martin and Lewis Decade.”

However, many Americans didn’t see these two celebrities as distant icons. Film critic Jenna Ipcar has described how “a perfect comedy duo will make their audience feel like a lucky participant instead of just a passive observer, a welcome guest in a secret world.” Martin and Lewis embodied that ideal.

The boys’ bittersweet final performance took place at New York’s Copacabana on July 25, 1956. Exactly 10 years after their debut in Atlantic City, N.J., Dean Martin and Jerry Lewis had pioneered a new brand of comedy, soothed postwar America’s psyche and made a nation laugh again.

Rosario A. Iaconis, chairman of the Italic Institute of America, writes about Italy and its cultural influence. He is at work on a novel about Harry S. Truman.

R&B singer Nivea publicly revealed her recent leukemia diagnosis on an episode of the Atlanta-based performance and interview series “Cadillac Chronicles.”

In a conversation with host Brian Freeman, the 44-year-old Grammy-nominated artist said she was diagnosed earlier this year and is “grateful to God” for her health as she undergoes treatment.

“I’ve been going through treatment, and everything is going great so far, and I expect it to continue. Amen, amen, amen,” she said on Tuesday’s episode.

“Cadillac Chronicles” features Freeman riding in his 1974 Cadillac Eldorado with a musician, usually a hip-hop or R&B artist. In addition to discussing gratitude, Nivea also performed her hits from the car’s passenger seat, including 2002’s “Don’t Mess With My Man,” which earned her a 2003 Grammy nomination.

It seems the diagnosis hasn’t slowed her down. The singer also revealed she’s working on new music and going to school for audio engineering, which she said she’s “always wanted to learn.”

“I’m doing all the things I want to do,” she said. “Loving on my children, and just being grateful and taking every opportunity that comes my way.”

Nivea — born Nivea B. Hamilton — was married to singer-songwriter and record producer The-Dream from 2004 to 2008, and shares three children with him: daughter Navy Talia, born in 2005, and twin sons London and Christian, born the following year.

She also shares a son, Neal — who performs as Lil Novi — with rapper Lil Wayne.

Leukemia is a cancer of the blood that begins in the bone marrow, which varies based on the type of blood cell affected and the stage of the disease. The “Complicated” singer did not reveal which type she was diagnosed with, but said she maintains a “positive” outlook in all areas of life.

“I’m very grateful for life. It’s so cliche to say, you don’t know the time nor the hour, but it’s true, and it just helped me put a lot of things in perspective,” she said. “I live in gratitude religiously.”

As EastEnders’ king-hearted teen Barney Mitchell lands himself in hot water, let’s take a look inside the life of actor Lewis Bridgeman.

EastEnders has aired shock scenes for the teenagers of Walford this week, and Barney Mitchell could be hiding a very dark secret.

Actor Lewis Bridgeman arrived on the BBC One soap in the summer of 2024, alongside his dad, Teddy (Roland Manookian), and Harry (Elijah Holloway), and drama quickly followed.

It was soon revealed that self-confessed bookworm Barney is the product of an affair between his mum, Nicola (Laura Doddington), and Zack Hudson (James Farrar), leaving both Barney and Teddy devastated by the truth about his paternity.

Sweetheart Barney appears to be an innocent extension of the Mitchell family with a passion for friendship and education, but the schoolboy is now taking center stage, as he may be hiding a sinister side following a violent incident involving Joel Marshall (Max Murray).

In recent episodes of the BBC soap, Joel returned to Walford following a six-month prison sentence for violently attacking his step-mum, Vicki Fowler (Alice Haig), who was determined not to live under the same roof as the tearaway teen.

He soon realised he was not welcome in the Square and planned to leave without saying goodbye to his dad, Ross Marshall (Alex Walkinshaw). However, before Joel left the Square, he was attacked by Walford’s teenagers who tied him to a fence and soaked him in beer while making fun of him.

Lily Slater (Lillia Turner), Avani Nandra-Hart (Aaliyah James), Amy Mitchell (Ellie Dadd), Nugget Gulati (Juhaim Rasul Choudhury), Ricky Branning (Frankie Day), Denzel Danes (Jaden Ladega), and Barney Mitchell (Lewis Bridgeman) later went back to free Joel after Will Mitchell (Freddie Phillips) ordered to let him go.

But when they returned, Joel was found unconscious on the floor with a serious head injury. On Thursday (July 23), the group was sickened by the sight of his body, and the police soon arrived at the scene.

DC Craig Ingram (Matthew James-Bailey) assured the teenagers were not under arrest as their parents gathered at the station, though they were all witnesses to the assault.

The group later gathered in The Arches to get their story straight as Joel received treatment in the hospital, but Barney looked visibly sheepish.

Harry Mitchell (Elijah Holloway) arrived and told them to leave, saying that the garage owner, Phil Mitchell (Steve McFadden), would be furious if he knew they’d used his premises as a meeting point. It then transpired that Barney had taken his spare key.

With everyone gone, Barney asked his brother if he’d found anything. Harry pulled a carrier bag from his coat that contained a hammer and said he needed to know everything. Did Barney attack Joel?

Who plays Barney in EastEnders?

Barney Mitchell is played by actor Lewis Bridgeman. The 19-year-old actor was born in Maldon, Essex, and attended Plume School with aspirations to become a drama teacher or an actor from a young age.

In 2021, Lewis joined the National Youth Theatre, which allowed the soap star to participate in workshops and stage productions and opened up opportunities for professional acting contracts.

The young actor has since appeared in various theatre productions, including The Wind in the Willows and Goodnight, Mister Tom.

Lewis’ talents do not stop at acting, as the soap star is also very intelligent. At the age of 12, he took Mensa International’s acceptance test and passed, indicating an IQ above 132 and placing him in the top 2% of the world’s population.

Lewis has been diagnosed with autism and dyspraxia, and his mother, Jayne Bridgeman, was worried he would struggle at school.

“Lewis has wanted to become an actor since the age of six,” proud mum Jayne told Maldon Standard in 2021.

“He adores everything to do with theatre and film. I’m very proud, I love the theatre, and we geek out together on Star Wars and Marvel things.”

Lewis went on to achieve four grade 9s and studied drama at A-Level whilst attending Chelmsford Drama Centre at weekends.

He landed the role of Barney Mitchell in EastEnders in 2024, with his first scene airing the same summer.

EastEnders airs Monday to Thursday on BBC One and iPlayer

Clive Masters has officially arrived in Walford, and while he gets to know Linda Carter, let’s take a look at the actor’s family life off-screen

EastEnders newcomer Jason Durr has a famous wife who television and gardening fans will know.

During Wednesday’s (July 22) episode of the BBC soap, Jason officially arrived in Walford as Clive Masters, a local Councilor and potential love interest of Linda Carter (Kellie Bright).

As the local community centre is at risk of closing down and being redeveloped, Ian Beale (Adam Woodyatt) put Linda in touch with Clive, who might be able to help with their fight to save the venue.

During their first meeting, it was clear that there was romantic chemistry between Linda and Clive as they opened up about their former partners, and they were set to grow closer in forthcoming episodes.

Will the pair take a chance on a little romance? The former Queen Vic landlady is yet to find love following the presumed death of her beloved husband Mick, played by Danny Dyer, who disappeared at sea on Christmas Day 2022.

Speaking about joining the cast of the BBC soap, Jason, 58, said: “Few shows command their place in the national conversation quite like EastEnders, so I’m delighted to be joining the cast as Clive Masters. Working with the wonderful Kellie Bright has been an absolute joy and pleasure from day one.”

He added: “All the cast, crew and production staff have been incredibly generous, welcoming and good humoured. I’m excited for audiences to meet Clive and see what’s in store.”

Who is Jason Durr married to?

Former Heartbeat star Jason has been married to TV presenter Kate since 2004, after they met while in Majorca, Spain. Kate, a former actor and model, is a garden designer and has even won a Royal Horticultural Society gold medal for her expertise.

In 1984, Kate enjoyed a brief stint in the children’s drama Grange Hill and starred in the television series Perfect World and Sam’s Game, both of which aired in 2001.

She has had success presenting, hosting Dream Ticket, Night Fever, and An Audience with Lennox Lewis, and is best known for her Guinness World Records presenting work.

The couple lives together in Wiltshire, and Kate often shares pictures on her Instagram of her stunning garden and many gorgeous outdoor designs.

Jason and Kate have three children together, two daughters and a son, and they usually keep their family out of the spotlight.

On Wednesday afternoon (July 22), Jason appeared on This Morning to talk about his latest acting role on EastEnders and paid a sweet tribute to his “lovely” wife.

Speaking to ITV daytime hosts Dermot O’Leary and Alison Hammond about learning his scripts, he said: “You’ve got to be absolutely pinpoint perfect with your dialogue, and it’s just a joy to be working with other regulars, who get it.”

Jason added, “Keep reading it. It’s one of those things, repetition, parrot fashion, you know, that kind of thing. The kids help me, my lovely wife helps me.”

Before marrying Kate, Jason was married to an Australian named Jeanine between 1995 and 2000. She was a singer-songwriter, and the pair were together for five years before splitting.

EastEnders airs Monday to Thursday on BBC One and iPlayer

It began as a whimsical idea that occurred to Daniel Leigh after an idyllic trip to the United States: Sell his family’s five-bedroom home in England and travel the world with his wife, Lauren Vaknine, and their two children.

So he was surprised when, a few months later, Vaknine and their children, Braxton, 10, and Viva, 7, agreed to go along with the plan.

“We’re not really travelers,” Leigh said. “We’ve always watched others travel.”

When they got back from their trip to America in March, they noticed that others had successfully raffled their homes on the British website Raffall. The online platform raffles everything from cars to homes, including one man who promoted his house to Americans last year as a “safe haven from Trump.” The couple decided to try it too.

The home is located just 20 minutes outside of London in Elstree.

(Lux Visuals Ltd.)

In June, they put their house in Elstree, about 20 minutes from London, up as a sweepstakes prize online and began selling tickets for five British pounds each, or $6.75.

“While someone new makes memories in our home, we get to go and make some of our own,” said Leigh, who has worked in educational recruitment in London for more than 20 years.

Leigh got the idea after reading a New York Times article about Imelda Collins, who raised about $1.4 million last year by raffling her two-bedroom cottage in Ireland. She sold 206,815 tickets at $6.70 each, and in October, Collins sold her cottage to Kathleen Spangler, a 29-year-old U.S. Marine Corps officer from Dayton, Ohio, who had bought three tickets on a whim and promptly forgot about them.

Leigh and Vaknine, both 42, grew up in the same village and went to high school together.

But after their family trip to New Orleans; Asheville, N.C.; and South Carolina spots Charleston, Folly Beach and Lake Keowee, they began to wonder if they wanted to stay in the same town forever. Kayaking and seeing the beauty of the Appalachian Mountains made them rethink their life.

The couple’s open kitchen was renovated in 2021.

(Lux Visuals Ltd.)

The living room.

(Lux Visuals Ltd.)

“Living on a lake was the most peaceful life I’ve ever had,” Leigh said. “It was perfect. In England, the kids spend most of their time indoors because of the weather, and we have to keep them busy with things like trampolines or indoor parks. Every family outing costs about $300. You can’t just go to the lake, the beach or hike in the mountains.”

Leigh said they have worked hard to build the life they thought they wanted, with two kids, their dog and a home. But after achieving professional success, they realized it was not the future they hoped for.

“We keep chasing goals that always seem just out of reach, simply because we feel we have to keep going,” he said. “There’s so much life to live. We’re seeing many of our parents and our friends’ parents pass away, and it makes you realize that life can feel like a conveyor belt. You either live or you just keep moving along.”

For Vaknine, a holistic wellness coach who was diagnosed with juvenile rheumatoid arthritis at age 2, selling their home and traveling the world carries even deeper meaning.

“I have been on a long journey,” said Vaknine, who has been in remission for the past decade. “From being head-to-toe disabled to being fully able-bodied, you don’t come through that without realizing that there is so much more to life than working, taking the kids to school and making dinner in the same house every day. For me, the extraordinary life isn’t about mansions, yachts or extravagance. It’s about experiencing life fully, finding deep inner joy, and I can’t do that if I stay within the same four walls in the same town I grew up in.”

Her husband added, “She lives a life of gratitude for everything. That’s what this is about: Let’s live life in the moment and do what we can when we are fully able.”

Their five-bedroom home, which is estimated at about $2 million, is on a quiet cul-de-sac with just five other houses in Hertfordshire, England. It has 2,226 square feet of living space, a south-facing garden, an open-plan kitchen, a dining and living room renovated in 2021, plus a home office and gym.

Leigh said they are not trying to make a profit, but they need to sell 550,000 tickets to cover the property’s costs, legal fees, taxes, prize money and raffle expenses.

“The ticket target has been set to cover all of the associated costs, so it’s unlikely there will be much left over,” he said. “If ticket sales exceed the target, then certainly, but that’s not the goal.”

If they don’t reach the ticket target, a winner will still be chosen and will get 50% of the money raised. They hope the winner gets the house.

One of the home’s bathrooms.

(Lux Visuals Ltd.)

One of the five bedrooms in the couple’s home.

(Lux Visuals Ltd.)

One reason homes aren’t auctioned often on the site, he said, is that you have to promote them yourself. Leigh estimates they’ve spent about $17,000 so far and are about to spend another $15,000 on Meta advertising. They also have to pay for their own legal advice.

The raffle has become a family project, and their children have helped with promotion. In one video, Braxton asks what might be the most important question about their move: “Are we bringing the dog?”

“We may have to leave him with family for a while,” Leigh said of their dog Story. “He’s the size of a small pony, so traveling with him could be a challenge. He’d definitely be missed, though.”

Working together to promote their home has been a valuable lesson for their children, Leigh said, showing them “that if you put your mind to something, you can do it. I want them to see hard work. It’s not just fun to do videos. It’s staying up till midnight, getting up early, running two jobs and making sure you don’t miss an interview. And in the end, the kids will see that life can change, and there’s a world out there if you make it happen.”

The family recently spent time in North Carolina, South Carolina and Louisiana. “We’re huge fans of America,” Leigh said. The couple hope to visit all 50 states after their home is raffled on Dec. 7.

(Daniel Leigh)

The kids aren’t worried about losing their home, Leigh said. “They are excited about going on a holiday, which we hope will include Australia, India and every state in America.”

With a record number of Americans applying for British citizenship, the couple’s raffle may be well-timed. The winner, chosen randomly by Raffall on Dec. 7, will get a mortgage-free home with all legal fees and taxes paid, plus $45,000 for household bills. The property transfer may take up to 60 days or longer according to Raffall’s terms and conditions.

Part of every ticket sale will go to Solace Women’s Aid, a British charity supporting women and children affected by domestic violence. Leigh notes that not every state can take part in Raffall competitions because of different state gambling, lottery and consumer protection laws.

At a time when many people are trying to choose between traveling or saving for a house, the couple is offering raffle entrants a chance to do both.

That’s the point, Leigh said: “If not now, when? That question changed everything.”

Mexican drug kingpin Ismael ‘El Mayo’ Zambada has been sentenced to life in prison in the US, following a plea deal last year when he admitted to trafficking millions ⁠of kilograms of cocaine. El Mayo led one of Mexico’s most violent drug cartels, the Sinaloa Cartel, for about four decades.

Thirty years ago a teenage boy, traveling abroad and without parents for the first time, came upon a scene of staggering destruction.

At Pompeii, when Tom Hiddleston saw the casts of the bodies killed by the explosion of Mt. Vesuvius in AD 79, he wasn’t just horrified, he was mesmerized, even excited; amid all that death it felt like the past was alive.

“Until that point, it had existed in books in the classroom, but I felt like was going back in time, walking into the past,” he said in a recent video interview about “Pompeii: Out of Time With Tom Hiddleston,” his new series that’s a hybrid of travelogue, documentary and extensive dramatic reenactments (with a meta touch).

“I was knocked sideways by the quality of the preservation,” he recalled of that teenage visit. “You can hear that these buildings carry the echoes of the lives they contained because of the frescoes, the mosaics, the furniture. You feel 2,000 years compress and collapse. It’s like magic.”

Hiddleston knows something about magic and time travel. After studying classics at Cambridge, his acting career led to the Marvel Cinematic Universe and the role of Loki, the god of mischief and “the boundary crosser.” Loki’s movie misdeeds get him “removed from the timeline of history,” and in the “Loki” spinoff TV show, he faces his past while bouncing through time.

One place Loki lands is Pompeii. Hiddleston was actually on a set in Atlanta, but there he was speaking Latin and revisiting his own past. “I felt this extraordinary confluence of my passions.”

Tom Hiddleston in a scene from the series, where he speaks to experts about Pompeii and how the eruption of Mt. Vesuvius unfolded.

(Christian Black / National Geographic)

Hiddleston had been talking with producer Kevin R. Wright about his fascination with the ancient world, and after seeing Hiddleston in fictional Pompeii, Wright got the ball rolling on “Out of Time,” co-writing and helping to produce the series, which debuts Wednesday on NatGeo and Thursday on Hulu and Disney+.

On the show, Hiddleston travels back to Pompeii and the lip of the volcano, speaking to experts of Pompeii’s history and volcanoes but also one in surviving disasters to help him understand people’s behavior as the sky was falling on them. “It’s about trying to gather as much evidence from different disciplines,” he explained.

Hiddleston’s enthusiasm for the project is evident throughout our interview: Each question earned a five-minute response, all delivered with passion (and incredibly articulate with no verbal fillers or talking in circles) and fascinating digressions — he broke down the Greek and Latin roots of the words “democrat” and “republican,” mentioned the classical references in the architecture of the New York Stock Exchange and British Museum, and tied in the relevance of Christopher Nolan’s “The Odyssey.”

Here, for instance, is a portion of his answer to my first question about whether the driving force of the series was the importance of facts in understanding history, using storytelling and imagination to create empathy for the people of Pompeii, or to show the way our past still has lessons to offer today:

“I wanted a series with an original dynamism, which could be immersive and propulsive and emotional, and bring the story of Pompeii and its people back to life in a way that could be different and innovative. I wanted to evoke for the audience the feeling that I had when I first went to Pompeii.

“At university, I had teachers who taught me to live in the question and that our relationship with the past is a two-way street. One cannot examine the past without acknowledging that we look back from the perspective of where we stand. We tell stories to understand something about ourselves — we need to know who we were to think about who we are now.

Darius Arya, an archeologist and historian, with Hiddleston in the ancient city of Herculaneum. (Paolo Verzone/National Geographic)

Human remains inside of boat sheds, where people took shelter from the eruption of Mt. Vesuvius. (Paolo Verzone/National Geographic)

“The engine of my commitment was centered on empathy, trying to honor the lives of the people of Pompeii. If we could gather enough evidence, enough fragments of truth, they might add up to a picture of history, which would generate great reserves of feeling and compassion so we could see ourselves in their predicament, their instincts, their choices, their capacity to help each other. And that experience of empathy and compassion would connect us to a thread across time to people experiencing a terrifying and traumatic event, and to see that in our world now.

“But we were very careful about the idea that the truth matters. In writing history, there must be intense rigor — evidence is important and if you have evidence that should counteract any bias or hypothesis.

“But the evidence here is incomplete so at some point, you have to take an educated guess, a leap of imagination. The past is a two-way street with the present, but it’s also an eternal mystery and all of our questions will never be answered so there’s that joy of living in the question.”

When the publicist said our time was up, Hiddleston stepped out of time and took one more question. And then another and another, nearly doubling the time allotted, thrilled to be exploring the connections between past and present.

While many people think that the city’s population was wiped out, the vast majority actually escaped and modern research has found the names and details of hundreds of survivors. Hiddleston notes that “one great gift of Pompeii is that the Romans didn’t have paper, so the walls, the columns, the houses, the public buildings are covered in writing: deeds, business contracts, advertisements, gossip, doodles.”

In this behind the scene photo, director of photography Jim Jolliffe runs with a camera, following Frankie Treadaway playing Avianius, a teenage boy whose story is reenacted in the series.

(Darrin Zammit Lupi / National Geographic)

The three episodes track the stories of a teenage boy, a successful businesswoman and a soldier in the nearby town of Herculaneum, with a sprawling cast and special effects bringing those scenes to life. “We thought that in the words of Pliny the Younger, ‘their lives were worthy of our memory.’ ”

While there have been other more traditional Pompeii documentaries, Hiddleston felt he had something distinctive to offer, thanks to his “day job.”

“I take a piece of writing and a character, real or imagined, and research as much as I can, and then imagine it and try and breathe life into a person,” he says. “Even when I’ve played real people, I’ve run out of evidence. That’s when you just have to extend your empathy and compassion, your knowledge of human beings and the breadth and range of human experience, the things we all share and can connect with to find an internal world of variety and depth.”

Hiddleston wanted to extend that to the people of Pompeii. “They were three dimensional people with rich lives,” he says. “We follow the trail of breadcrumbs as far as we can, and then try to bring them to life with empathy and compassion.”

I’m one of those rare Mexicans who never cared for soccer.

My family is from the north-central Mexico state of Zacatecas, where baseball is king and even volleyball was more popular in the ranchos of my parents than futbol. The childhood sports idols for my generation of cousins were Dodgers pitcher Fernando Valenzuela and boxing champion Julio César Chávez, not Mexican soccer legends Hugo Sánchez and Jorge Campos. Our dads bought us hats and bats to occupy our summer, not kits and cleats. I don’t even remember any of us ever owning a soccer ball — and I have nearly 100 cousins.

The first World Cup I remember was the 1994 edition hosted by the United States. I remember reading a huge Times special preview section on the affair and collected some of the commemorative pins that McDonald’s sold. But the matches were background noise in our living room during family parties as we splashed around in the swimming pool at our Anaheim home. When the tournament finale happened at the Rose Bowl, my favorite cousins and mutual best friend instead caught a baseball game at Angel Stadium and knew about Brazil’s victory over Italy only because the people above us in a private suite let us know.

As a sports fan, I paid enough attention to soccer as the decades passed to know who was who and what team was what and which sides kept winning — and that was mostly because I enjoyed EA Sports’ excellent video game version of it. What made playing soccer on consoles so fun — an exponential number of domestic leagues and international tournaments, the fact that every English-language match seemed to have a Scottish color commentator, the seeming aimlessness and formlessness on the pitch broken up by flairs of beauty — made it a slog when watching in real life.

As a reporter, I knew enough about soccer culture to file stories from watch parties across Southern California’s cornucopia of diasporas every World Cup. As a Mexican American, I cared enough about Mexico’s perpetually heartbreaking El Tri squad to watch their runs and sigh about how we’ll always have it harder than most. But I never bothered to tune in to other matches even as soccer leagues from across the globe have stormed network, cable and streaming channels in recent years.

I never hated the sport — it just never moved me. But when the final whistle blew on this year’s World Cup finale and three-quarters of the packed house at Chapter One: The Modern Bistro cheered wildly, I realized I was finally, truly a soccer fan.

Over 104 games, a bunch of questionable VAR calls, another heartbreaking downfall by Mexico, a bizarre Tom Cruise pregame monologue in the last match and the brilliant goal by Ferran Torres in extra time that let Spain squeak by Argentina 1-0, I slowly learned and felt why soccer is the world’s most popular sport, why a billion-plus people watched alongside me Sunday afternoon, and why this Cup kept setting viewership records in the United States and beyond until the end.

Who wouldn’t be moved by the heroic performances of underdog countries against the game’s traditional powers, such as tiny Cape Verde and ancient Egypt? Who couldn’t feel the thrill of seeing young stars meet the hype around them and exceed it — Erling Haaland of Norway, Lamine Yamal of Spain, Mexican midfielder Gilberto Mora, to name the most fabulous? Who didn’t want to interact with fan bases that distilled the best of their side’s cultures and traditions and showed it off to everyone and anyone — I’m doing Norway’s Viking Row even as I type.

Who can’t learn from the life lessons soccer offers — and I’m not talking about the obvious geopolitical metaphors? I knew some of them, yet I never really absorbed them until I decided to make Chapter One my gustatory church for the Cup and watch as many games there as possible. I caught so many that I effectively became a walking Manhattan cocktail for the summer, and while my liver won’t forgive me for a while, my heart and soul absolutely have.

The one thing I always admired about domestic leagues — well, except Major League Soccer — is the relegation system, where the bottom teams in one league swap places with the top teams in a lower-ranked league at the end of each season. For national tournaments, the corollary is how poorer countries always have to match up against richer ones for regional face-offs and qualifiers that culminate in the quadrennial dream that is the World Cup.

That makes soccer a beacon of hope and possibility that few other team sports can offer, especially in an era where top teams try everything possible to keep everyone else out of their riches (which is why relegation will probably never come to MLS). In a world where the haves are grinding down the have-nots, soccer is a reminder that anything truly is possible for anyone — you just have to keep at it.

The Chapter One gatherings quickly taught me how the long lulls broken up by spurts of passion that I once found a drag were actually as stirring as a religious experience. It’s impossible not to feel this watching even one game — but a succession of them have the effect of a full conversion.

Cheers and chants turned into prayers. Boos against opponents and bad referees and yells at your side to do better was the Spirit moving you to testify. Text threads among friends became daily missals. When your side scored, it was like the gift of life itself — I’ve never been in a louder environment than when Mexico scored against England, a roar that rivaled a jet engine.

When your side lost, like Mexico eventually, inevitably did, it was a reminder that we all must at some point — but that we shouldn’t dwell on defeat because while eternal glory isn’t guaranteed, it can happen. And that’s why soccer teaches we must continue no matter how bad our team performed, no matter how terrible things get or how hopeless life seems.

After every Mexico match, downtown Santa Ana became the most wonderful expression of happiness I’ve ever been lucky enough to join — fireworks, conga lines, street takeovers or just standing among thousands of strangers and soaking it all in. It was the revival of a people whom a year early were angrily protesting on those same city blocks if they weren’t sheltering in place because ICE was running roughshod over Southern California.

Only soccer could’ve caused such a joyous revolt. We should all channel some of that magic into our daily lives.

And in the middle of all this emotion, I actually watched what was going on. I saw talented teams such as South Korea collapse under pressure and my beloved Mexico valiantly fall against an English squad that was taller, faster and just better — for now. Haaland’s singularity was a testament to how humanity seeks heroes — but Spain’s ultimate triumph via crisp passes and selfless teamwork offered a stirring, convincing collective counterpoint.

Soccer probably won’t supplant my love for baseball, football, basketball and hockey — but I can now mention it in the same breath as them.

International and professional soccer is rife with corruption and avarice and increasingly embraces the worst tendencies of late-stage capitalism. And yet fans suspend their cynicism for a few hours — for a tournament, for a season — because they know that the communion that soccer offers is pure and holy.

It truly is the people’s game. And no amount of Gianni Infantino or mysteriously suspended red cards can ever take that away.

Now that the Cup is over, my mind is racing with what club teams I should start to follow and continue my World Cup experience. I already kind of like Bayern Munich because that was the side I chose in EA Sports FIFA 18 (to show how retrograde my soccer knowledge remains, I still think James Rodriguez, Thomas Müller and Robert Lewandowski play for them), but who will I root for in Premier League? I can’t do Arsenal even though Chapter One is the official Orange County home for Gooner fans because that would be too obvious. Maybe Crystal Palace, about which I know nothing other than that was also the name of the Bakersfield music hall owned by country legend Buck Owens?

Zacatecas has never had a successful club team — baseball still rules there, after all — so I think I’ll root for Pumas UNAM to honor all my Mexico City friends who urged me forever to give soccer a true chance. I don’t really know any La Liga squads besides Real Madrid, Atlético Madrid and FC Barcelona, so I have a lot of studying to do there. And between the Galaxy and LAFC? Well, time for me to catch a home-and-home El Tráfico and let their support groups court me.

One team I know I’ll now follow: Angel City, the L.A. women’s soccer side brilliant enough to rebrand itself “Immigrant City Football Club” last summer in the midst of President Trump’s deportation deluge while the city’s other professional sports teams stayed quiet. And I’m already counting down the months before Brazil hosts the Women’s World Cup a year from now and Chapter One becomes my Cheers anew.

Soccer: it’s been a long time coming between you and me. But here I am! Drop those hydration breaks, and you’ve got a fanático for life.

July 20 (UPI) — Ismael Zambada Garcia, also called El Mayo, was sentenced to life in prison without the possibility of parole Monday by a U.S. federal judge.

Zambada Garcia, 76, the co-founder and the former leader of Mexico’s Sinaloa drug cartel, pleaded guilty last year to leading the extensive criminal network, in which he made billions of dollars through illegal drug trafficking and violent crime. He worked with Joaquín Guzmán Loera, also called El Chapo, who is also serving life in prison.

Zambada Garcia avoided arrest for decades before authorities captured him in 2024 in El Paso, Texas. His arrest created extensive violence in the Sinaloa state of Mexico as people rushed to fill the power vacuum, The Washington Post reported.

“Ismael Zambada Garcia spent nearly four decades poisoning American communities to make billions of dollars in profit and ordering the murders of anyone who stood in his way,” said Joseph Nocella, U.S. attorney for the Eastern District of New York. “Today, that chapter closes for good.”

Zambada Garcia read a statement in Spanish in his courtroom appearance. He expressed remorse and said his upbringing was in “an environment where violence and crime seemed normal,” The New York Times reported.

“To the next generation, I say: Choose a different path,” he said.

Judge Brian Cogan of the Federal District Court in Brooklyn also ordered Zambada Garcia to forfeit $15 billion, though it’s unlikely that will happen, The Times reported.

Zambada Garcia was arrested after an ally — the son of Joaquín Guzmán Loera — took him onto a plane to allegedly go look at real estate. Instead, they flew over the border to Texas, where federal authorities arrested him. Tensions between U.S. and Mexico authorities continue over the operation, and the Mexican attorney general office said this month that it is investigating if the U.S. government lied about its involvement.

Georges Hana Dib, known as Dr Food, was sentenced for smuggling hashish out of Lebanon in cake packaging.

Beirut, Lebanon – The popular Lebanese food influencer, known as Dr Food and dubbed Lebanon’s Breaking Bad, has been sentenced to life in prison with hard labour for drug smuggling.

Hashish reportedly hidden in cake packaging produced in Baalbek in eastern Lebanon was transported to Turkiye and then shipped internationally.

Georges Hanna Dib and other Lebanese and Syrian nationals were sentenced under Lebanon’s Narcotics Law, which covers the manufacturing of banned drugs, according to reports.

Judge Elie al-Helou, sentenced him to life imprisonment with hard labour and fined him 120 million Lebanese pounds ($1,341).

The sentencing comes after a 2024 drug bust involving 820kg (1,800 pounds) of hashish hidden in cake packaging.

Dib, who is not a real doctor but has more than five million followers on TikTok, is believed to be out of the country. He and others who were sentenced in their absence were also stripped of their civil rights.

Dib was recommended a life sentence and hard labour in February last year when a Mount Lebanon investigative judge charged him with “manufacturing, trafficking, and smuggling drugs abroad”.

On Sunday, Dr Food’s Instagram page made no mention of the court case or any reaction to the sentencing. The page shared a giveaway that his food product brand was running.

People who received the message, posted it on TikTok and received 100,000 views would win $100 from the influencer.

In one video posted to Instagram, Dr Food appears to be filming himself in his car but does not address the court’s decision.

His last story was posted on March 27 from Beirut’s waterfront. There, he is asking displaced Lebanese what they miss eating and then proceeds to order food for them from some of Lebanon’s most popular food chains.

Lebanon’s Bekaa Valley is notorious for hashish production. Last November, Lebanese police arrested Noah Zaiter, a 48-year-old drug trafficker, known as the Lebanese Pablo Escobar. He was sentenced to four months in prison in February.

San Juan arrives at the Cruz de Mayo Wake

For this second installment of our work on Venezuela’s life cycle festivities (click here for part I), we present an in-depth conversation with the renowned Venezuelan musician, cultural practitioner, and percussionist Rolando Canónico. Together, we reflect on the immense responsibility of preserving Venezuelan traditions, specifically during festivals such as Cruz de Mayo and San Juan. From his dual role as a professional musician and cultural worker, Canónico addresses the tension between the commodification of music or competitive virtuosity and absolute respect for ancestral rhythmic and melodic patterns, defending the playing of the drum as an act of genuine devotion rather than a spectacle. He further delves into the powerful spiritual and syncretic connection he experiences when “dialoguing” with the instrument, underscoring his firm commitment to protecting and passing on this invaluable family and cultural heritage to new generations in Caracas.

A percussionist, drummer, and cultural creator, Canónico has participated in Fundación Bigott and renowned musical groups such as Caracas Sincrónica and Francisco Pacheco y su Pueblo. His trajectory is intertwined with a more discrete, yet vital, task: safeguarding Venezuelan musical memory. What began as a conversation between friends turned into a deep discussion about ethics, spirituality, and the responsibility of honoring the legacy of our ancestors in the twenty-first century.

Family and heritage: the weaving of a music lineage

To understand Rolando Canónico, one must look back at his ancestry. “My paternal grandparents passed away many years ago: Luisa Amelia Aponte de Canónico and Benito Canónico,” he recounts. Benito Canónico was the author of “El Totumo de Guarenas,” an important folk music composition. A musical heritage that flows through Rolando’s veins. However, as we delve into his role as a “host” of these festivities, Rolando turned his gaze toward his maternal lineage –to the women who, through the energy of daily life, kept the flame of devotion alive.

His story takes us to the Afinque Marín in the densely populated Afro-Venezuelan community of San Agustín, Caracas, where his maternal great-grandmother became a cultural bridge. “When that wave of people from Barlovento arrived –that migration boom from Barlovento to Caracas –she had the opportunity to be there when all these cultural expressions arrived,” he explained. It was there that, without any artistic pretensions, driven solely by faith, his great-grandmother began to adorn the Cruz de Mayo.

This responsibility passed to his grandmother, Rosa Emilia Pérez Sanz. “She embraced it as such,” Rolando told us, describing a pedagogical-community learning process where knowledge wasn’t taught in classrooms, but rather through observation and habits shared with neighbors. Music, for its part, was naturally incorporated through his mother, the founder of local band Los Tucusitos, blending Christmas carols with the fervor of the Cruz de Mayo vigil. For Rolando, that early exposure to music, combined with the discipline of his musical training, allowed him to turn a family passion into a profession.

A double celebration: a rite of transition and coming together

The celebration that Rolando Canónico holds at his home in La Pastora is not a one-off event, but rather part of a 43-year tradition that has been formally recognized by the Culture Ministry’s Institute of Cultural Heritage for the past 15 years. Every last Saturday in May, the house becomes the setting for a symbolic transition: the farewell to May, dedicated to Cruz de Mayo (May Cross), and welcoming June, the month of San Juan.

The logistical effort is monumental. “It’s not just a matter of sitting there, shouting some stuff, and that’s it,” Rolando emphasized. The process begins days in advance, with the presentation of newborn children and spiritual cleansings. Rather than merely attending as spectators, the community becomes an active participant: “People already know when it is; they don’t even ask anymore –they just show up with a small bouquet of flowers, a candle, fruit, or even a kilo of vegetables for the soup.”

The masterfully designed altar serves both festivities. “We make one, but it also serves as decoration for both,” explained Rolando, describing a symbolic overlap where the Cross is moved aside to make way for San Juan. This is the moment when devotion becomes tangible.

One of the most tense and beautiful moments of the night is the ritual procession. When San Juan arrives, the Cross, guarded by its devotees, seems to resist the change. “That encounter there, that clash, there comes a moment when San Juan announces that he’s going to come out, and the Cross doesn’t want him to,” Rolando tells us with the intensity of someone who has deeply witnessed that “struggle.”

To manage this tension, Rolando delegates to a decimista [poet], who acts as a mediator. He not only sings but also has the authority to say “He said it right!” at the precise moment when the euphoria outside the house reaches its climax. It’s a necessary exercise in control: “I have to do it this way because otherwise the whole thing turns into a conflict.” As the sirens* and golpes de tambor** intertwine, the cross at the altar gives way to the triumphal entry of San Juan, closing one portal to open another.

Rolando Canónico narrates the intensity of this coming together:

That encounter there, that clash, there comes a moment when San Juan announces that he’s coming out, and the Cross doesn’t want him to. So the devotees of the Cross hold their ground. It’s something beautiful, truly beautiful. Right there in that moment, with San Juan already coming down the stairs and the fulía [traditional rhythm] playing at the altar, the devotees form a circle so the fulía doesn’t stop. In the end it’s not a struggle but a meeting. The meeting where San Juan rises as he descends the stairs, already looking toward the Cross, and he’s trying to leave the house to welcome those who are coming. It’s as if he’s saying, “I’m letting you know that I’m on my way here.”

Regarding the energy that is unleashed when the festival reaches its peak with the arrival of the San Juan statues, Canónico adds: “That’s the moment when the altar of the Cross begins to be dismantled, when all the crosses are removed to make way for San Juan.” “That clash there between the Cross and San Juan gives you a powerful feeling,” he continued. “And when the three San Juan statues meet in front of the house, I can’t even describe it…”

Responsibility toward our ancestors and their legacy

If there is something Rolando Canónico is known for, it is his intransigence toward shoddy work. In a world where the commodification of traditional music threatens to sever it from its roots, he stands as a bulwark.

“In my house, I don’t accept things done poorly.” For him, the drum is not an instrument for competition or for displaying empty virtuosity. “I’m not putting on a show. I’m fulfilling a family promise,” he emphatically clarifies. His authority within the festival doesn’t stem from arrogance, but from a deep understanding of and respect for the musical codes, styles, discipline, and rigor that his teachers instilled in him.

This rigor extends to his training of new generations. Rolando is fully aware of his role as a guide and seeks to prepare his nephew and other young people so that the tradition is not diluted by stage “improvisations.” It is a pedagogy by example: he inaugurates each drum, ensuring that the rhythmic foundation is consistent with what has been passed down for centuries.

Finally, the conversation heads into more intimate territory: the relationship between the musician-artist and the divine. When asked if he experiences an altered state of consciousness while playing, Rolando responds with overwhelming sincerity. “I am a devotee of San Juan the Baptist; I am a santero… my spirituality is deeply connected to the drum.”

For Canónico, there is no separation between the musician who reads the score and the practitioner who offers his prayer through the drum’s vibrations. “That’s the best spiritual cleansing there can be here –playing the drum the right way,” he affirms. “I say ‘the right way’ because with the drum, you have to communicate with it.”

This dialogue, this meeting between the sacred and the profane, is what makes the festival in La Pastora, in Rolando’s own words, a “formidable experience.” By the end of our interview, it’s clear that his work is not merely a tribute to the past, but a strategy for cultural re-existence. As our interviewee aptly summarized at the end of our meeting, the true responsibility of a cultural artist is to ensure that, when San Juan arrives at his doorstep, the drum sounds exactly as it should: with the truth of the ancestors and the strength of a future that, thanks to people like him, is guaranteed a place in Venezuela’s collective memory.

Notes

*Sirenas are a cappella songs with an octosyllabic quatrain meter used to express devotion to both the Cross and San Juan.

**Golpes de tambor refers to multiple rhythms where drums, usually in sets of three, are the main protagonists. From a melody standpoint, singers take turns between solos and choruses.

See below for more details on the festivities and the surrounding music.

Fabiola José is a Venezuelan singer. She has performed in countries across South America, Africa, Europe, and Asia. Her singles and albums are available on all digital platforms. She hosted and produced “Cantante y Sonante” for Radio Nacional de Venezuela. In 2018–2019, she created a series of videos for social media, published on her YouTube channel #HechoEnCasa. She holds a bachelor’s degree in Music from IUDEM, Caracas (2005); specialized under Maestro Tom Krause in Spain (2007); and an M.A. in Arts and Cultures of the South from UNEARTE, Venezuela (2020).

Fidel Barbarito is a Venezuelan musician and researcher, with a bachelor’s and master’s degrees in music and history, respectively. He teaches in the undergraduate and graduate programs at the National Experimental University of the Arts (UNEARTE). Together with Fabiola José, he promotes several musical projects aimed at disseminating traditional folk repertoires, integrating them with contemporary compositions inspired by these sounds. Joropo llanero. Parranda de reexistencia is one of his published essays.

The views expressed in this article are the authors’ own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

The Sounds of Celebration

To gain a deeper understanding of the rich soundscape that defines the festivities at the Canónico family home, we break down how the musical universe of these celebrations is organized. It is not merely a decorative sideshow, but rather the ritual language through which faith is expressed.

The music in the Cruz de Mayo wake: a devotional geography (drop-downs with more info)

The Cruz de Mayo ceremony, which precedes the arrival of San Juan, features a structure that honors various regions of Venezuela. Canónico explains that this part of the festival requires specific discipline and respect for the different genres according to their geographic origin.

The order of the genres

Devotional music follows a set pattern that begins with the “Salve Llanera.” Afterward, songs representative of various regions are performed: Lara, Oriente, Falcón, and finally Zulia.

The poet and the sirenas

The mediator plays a crucial role. He recites poetry (“décimas”) and also has the authority to sing sirenas. This person is responsible for maintaining the choir and the performance during the most intense moment, when the altar of the Cruz is being prepared for the transition.

Interpretive rigor

There is a strict hierarchy. Although the community is invited to participate, the singers are committed to specific roles. For example, those responsible for the salve must perform it with the rigor that tradition demands, avoiding any “improvisation” or inappropriate mixing with other genres.

Music for San Juan Bautista: the strength of the drum (drop-downs with more info)

Once the ritual procession takes place and San Juan enters the house, the soundscape changes radically. Canónico explains that, unlike the Cruz, San Juan marks the beginning of a sequence in which the drum takes center stage.

Performance spaces

There is a geographical distinction within the house. The genres permitted to be performed inside the home, directly in front of the altar, are limited and sacred: sirenas, culo e’ puya, quitiplás, and San Juan de Guatire. All other musical performances take place outside the house.

The main reference

Rolando Canónico, as the host and a cultural leader, inaugurates each drum. He performs the Afro-Venezuelan section—specifically the Miranda fulía—alongside his nephew and his godson, ensuring that the rhythmic pattern remains true to tradition and does not veer toward competitive or show-oriented styles.

Ethical guidelines

At the Canónico household, a clear policy has been upheld: to play not for the sake of competition or virtuosity, but out of devotion, tradition, and beauty.

Talking to the instruments

For Canónico, playing the drum is not a technical performance, but a dialogue. He asserts that, in this context, the saint dwells within the drum and that playing it is a form of spiritual cleansing. When the instruments sound, the performer seeks to “detach” himself from rigid patterns in order to let a powerful energy flow, especially when several San Juan statues gather in front of the house.

This musical framework is, in Canónico’s words, a “system” in which every drumbeat and every décima has a specific place and time to ensure that the legacy of the ancestors remains alive without being corrupted by trends or commodification.

Rolando Canónico is a prominent Venezuelan percussionist, educator, and cultural practitioner, recognized as a key figure in the preservation of traditional community music and Afro-Venezuelan percussion. Initially trained at the Bigott Foundation’s Popular Culture Workshops, he has built a prolific musical career by joining iconic groups such as Francisco Pacheco y su Pueblo, Pomarrosa, and Caracas Sincrónica, as well as accompanying important Venezuelan artists, including Cecilia Todd, Cheo Hurtado, Betsayda Machado, Fabiola José, and Luisana Pérez, on recordings and on stage.

Beyond his virtuosity as a session musician, Canónico stands as an active guardian of Venezuela’s musical tradition, demonstrating a deep ethical and spiritual commitment to organizing community festivals, ensuring that historical accuracy and the identity of the ancestors remain alive for future generations.

A few weeks after lifestyle influencer Nara Smith revealed her daughter’s private cancer battle, the mom of four is sharing that Whimsy is in remission.

The content creator, well known for making elaborate meals from scratch while wearing glamorous ensembles, told her following of 12.6 million on TikTok and 4.9 million on Instagram on Friday that she and her husband, model Lucky Blue Smith, have spent the last eight months processing their 2-year-old daughter’s health battle.

The parents debated whether they should share such a private part of their lives and decided to wait until Whimsy had finished her treatments and doctors had a better grasp on the likely outcome.

“Now that she’s finally in remission, it felt like I could find the words to share,” Nara Smith said. “The whole point of me sharing our experience was to shed light on what so many families go through and battle privately. Going through chemo treatments opened my eyes to how expensive medical care is, and what a toll it takes on families specifically.”

“Lucky and I have been trying to return to everyday life and taking it day by day,” she continued. “I don’t know whether life will ever feel normal again, but we’re trying to navigate this next chapter the best that we can.”

Smith, 24, said in an Instagram video earlier this month that Whimsy was diagnosed with cancer late last year.

“When we saw something suspicious on her, we took her to the ER, and they didn’t quite know what to make of it,” she said in the video. “So when we took her into our pediatrician, I just remember him going really quiet and calm and my heart dropped in that moment. I don’t know whether it was my gut telling me something or just a mom’s intuition, but the first thing that I felt was she has cancer.”

The content creator said her daughter underwent numerous X-rays, ultrasounds and a biopsy before the hospital team confirmed the cancer diagnosis. Smith did not specify the type of cancer but said that the illness had spread and that Whimsy needed chemotherapy.

In recent weeks, Smith has shared heartwrenching glimpses into the family’s battle, including photos of Whimsy’s curls being shaved and her bald head bedazzled with gems.

“Cancer has a way of taking things you never realized you’d grieve,” she wrote alongside a video of the parents shaving Whimsy’s head. “The day I ran my fingers through her hair, strands coating them, I realized I wouldn’t be brushing Whimsy’s hair much longer. It’s such a small thing, until it isn’t.

“It wasn’t just hair. It was the little curls I tucked behind her ears, the wispy strands that caught the sunlight, and all the ordinary moments I never imagined I’d miss.

“If sharing these pieces of our story helps even one family feel less alone, or encourages one person to learn more about childhood cancer, then this vulnerable part of our lives is worth opening,” Smith wrote. “Today her curls are returning.”

In Friday’s video, Smith said that she’s been researching charities and foundations to support and included links to GoFundMe pages for children who are battling cancer.

Nara and Lucky Blue Smith, 28, married in 2020 and share four children: Whimsy Lou, eldest daughter Rumble Honey, son Slim Easy, and infant Fawnie Golden. Lucky Blue also shares a daughter with his ex-girlfriend, social media star Stormi Bree.

Times staff writer Alexandra Del Rosario contributed to this report.

Coronation Street’s Betsy Swain has taken centre stage this week as the ITV soap tackles the silent dangers of non-fatal strangulation in a powerful stroke awareness storyline

Coronation Street’s Betsy Swain is currently part of a hard-hitting storyline.

The hit ITV soap is tackling the silent dangers of non-fatal strangulation in a powerful stroke awareness storyline. Only recently, Ryan Connor discovered an unconscious Betsy, where she was rushed to hospital.

Doctors confirmed that she had suffered a stroke caused by a blood clot which was the result of neck artery damage from a temporary loss of circulation.

Once stabilised having suffered a second stroke, an embarrassed and vulnerable Betsy eventually managed to reveal that her boyfriend Dylan Wilson strangled her during consensual sex, despite both believing the pressure applied was minimal.

In the coming months, viewers will witness Betsy’s challenging recovery journeys as she transitions from hospital to home, navigating significant life changes. With Betsy taking centre stage, soap watchers are keen to learn more about actress Sydney Martin’s life from her real age to her normal job before Corrie fame…

Real age

Sydney shot to fame when she joined the ITV soap as Betsy, daughter of fan favourite DS Lisa Swain, played by Vicky Myers.

In the soap, Betsy’s age is 18 with the character having been born in September 2007, meaning she will turn 19 later this year. However, in real life, actress Sydney is in fact 24.

Back in October, Sydney celebrated her birthday, sharing a post on her Instagram revealing she was 24. Reacting to Sydney’s real age, soap fans were left floored at the time.

On a Coronation Street Facebook fan page, one person said: “Happy 24th birthday to Sydney Martin who plays Betsy Swain!“

Someone else declared: “Never knew she was 24!” A third chimed in and quipped: “I need a moment! She’s 24 What?!” Echoing their thoughts, another person penned: “Def looks younger doesn’t she.”

Normal job before Corrie fame

Before landing her Coronation Street role, Sydney was working at supermarket Tesco and immediately handed her notice in after getting the life-changing call.

Previously talking to The Sun, Sydney recalled how she was watching the film Pitch Perfect 3 with flatmates in Manchester when she got the call to say she had won the role of Betsy.

The actress told the publication: “I just ran to the corner of the flat to answer the phone. I said, ‘It’s going to be a no, so keep watching the film’, and then my agent said, ‘Go hand in your notice’.

“I was doing six days at Tesco, so it’s quite the career change. My flatmate picked me up and we just cried. We didn’t finish Pitch Perfect. I could not have asked for a ­better first opportunity.

“My parents are my biggest fans. They are over the moon. I had my first picture in a magazine recently and they bought ten copies.”

Sydney admitted that she had previously auditioned for two smaller roles before landing Betsy and it was a two-month process before getting the job.

Coronation Street continues on weekdays at 8:30pm on ITV and ITVX.

The Son, as they say, will come out tomorrow.

Bet your bottom dollar that Son Heung-min, LAFC’s $26 million man — the record MLS fee for an incoming player — would peel himself off the mat and clear away the cobwebs and sorrows of the past few weeks and months.

He did it with a sizzling, right-footed goal in the 57th minute of LAFC’s 3-0 victory Friday over the Galaxy in the 27th rendition of El Tráfico and the first this year. Also, the first crosstown showdown of Son’s so-far, so-so tenure in L.A.

His arrival last August from Tottenham Hotspur in England’s Premier League was met with uncommon fanfare. Here came another global soccer icon to Major League Soccer — and to L.A., where the South Korean sensation was welcomed enthusiastically by a Korean diaspora that’s about 250,000 strong.

LAFC forward Son Heung-Min celebrates after scoring a goal against the Galaxy at Dignity Health Sports Park in Carson on Friday.

(Ronaldo Bolanos/Los Angeles Times)

The first Asian player to win the Premier League Golden Boot, Mayor Karen Bass spoke at Son’s introductory news conference. The Dodgers invited him to throw out the first pitch on Shohei Ohtani’s bobblehead night (and turned around this season and produced a bobblehead of Son throwing that pitch).

His first LAFC goal — a free kick over the wall in a 1-1 draw with FC Dallas — was named the MLS’s goal of the year. After notching 173 goals across all competitions with Tottenham Hotspur, he finished with nine goals in his first 10 regular-season appearances for LAFC.

Then the scoring stopped. As if someone turned off the spigot.

Before Friday, Son recorded nine assists but no goals over 13 unlucky matches this season. He went 44 shots without striking a goal. And 237 days between goals, according to The Chosun Daily’s tally.

Yeah, just a bit of what his LAFC teammate Mark Delgado described as “a drought.”

Most painfully, Son also was shut out in South Korea’s disastrously short World Cup stay.

South Korea entered the tournament with the expectation that its “golden generation” – led by Son – would reach the knockout stage. But after it opened Group A with a 2-1 win over Czechia, the Koreans lost 1-0 to Mexico and 1-0 to South Africa and failed to qualify for the round of 32 as one of the eight best third-placed teams.

The uproar in South Korea that followed included the country’s president demanding an investigation.

Mexico’s Julián Quiñones and South Korea’s Son Heung-min vie for the ball during a World Cup match on June 18 in Guadalajara, Mexico.

(Ricardo Mazalan / Ap Photo/ricardo Mazalan)

For his part, a heartbroken Son shared a statement on Instagram: “I don’t dare to convey the disappointment and hurt of the fans with a single word ‘sorry.’ So even saying those words feels insufficient.”

It was impossible not to wonder: What the heck?

Where was the version of Son that everyone was celebrating a year ago?

How did the 34-year-old’s game decline so suddenly?

Was this a classic case of overpromising and underdelivering?

It still might be. LAFC — now 8-5-3 and third in MLS’s Western Conference — is going to face tougher competition in the days ahead than the work-in-progress Galaxy.

But on Friday, the center-forward was aggressive and in control. He took two shots in the first seven minutes, both blocked by defenders. He toyed with the Galaxy just before halftime, lining up to take a penalty before turning it over to Denis Bouanga, who scored to make it 2-0.

Then he and Delgado exchanged passes in the second half to set up Son’s first goal in darn near forever.

LAFC coach Marc Dos Santos gave Son 10 days off after the World Cup, but Son said he was eager to return to L.A., because he so enjoys the camaraderie of this club.

Those good vibes were on display when Son’s shot whizzed between two defenders and the outstretched arms of Galaxy goalkeeper Novak Micovic.

Son put his finger to his lips in the universal “shhh” sign and then did his patented camera celebration — click! — miming a snapshot. Because every goal is precious, and let’s be real, you never know when another will come.

LAFC’s Son Heung-Min celebrates after scoring what could be a breakthough goal against the rival Galaxy at Dignity Health Sports Park in Carson on Friday.

(Ronaldo Bolanos/Los Angeles Times)

Around him, the crowd and his colleagues went wild.

Dos Santos did some vein-popping flexing on the sideline. Mathieu Choinière pumped his fists as though he were operating a handcrank. Jacob Shaffelburg and Ryan Hollingshead flanked him on either side as though posing for a family photo. Son’s hair got tousled and nobody wearing black and gold could stop smiling.

“He deserves it, coming back from an emotional World Cup, and joining us right away,” Dos Santos said.

“He’s a great guy,” Delgado said. “He’s been in a bit of a goal drought, and, you know, we all want him to score. We all, he’s always smiling, and in training, he’s always scoring.

“And we’re like, ‘yeah, we need that, we need that!’ Trying to give him confidence,” Delgado continued. “And in games, he finally is getting that confidence back. So to see him score and put the ball in the net and just see his face light up with a smile is awesome. We all want to see him succeed here. We all want him to lead this club like we know he can.”

Now the goal is to keep the goals coming.

“Scoring the first goal of this season, I think it [will] help me,” Son said. “I think, definitely, going forward through the second part of the season. So, let’s keep going, and hope Wednesday [against Salt Lake] I can score another goal.”

Beloved presenter Fern Britton is best known for hosting ITV daytime programme This Morning

Fern Britton has a very famous father and fans will be floored at who he is.

The former This Morning presenter is currently appearing on screens in Fern Britton: Inside the Vet’s. The ITV documentary series follows Fern as she goes behind the scenes at a Bristol surgery.

The programme has recently returned for a second season at The Grove Vets, with the latest instalment set to feature a 10-month-old cat with an injury sustained in a fight. That’s not all, as Dr James Greenwood also provides emergency care to a whippet with a nasty throat injury, and delivers a masterclass on doggy dental hygiene with special help from his own pet.

As Fern continues to delight audiences on ITV1, some viewers may be surprised to learn that she comes from a very famous family, reports the Express.

Who is Fern Britton’s famous dad?

Fern’s dad was the actor Tony Britton. Tony was best known for starring in BBC sitcom Don’t Wait Up alongside Nigel Havers in the 1980s, as well as many British films including The Day of the Jackal.

He also appeared in Robin’s Nest alongside Richard O’Sullivan and Tess Wyatt, and films Operation Amsterdam, as well as Sunday Bloody Sunday. In 1975, he won the Broadcasting Press Guild’s best actor award for his role in The Nearly Man.

Fern announced her father’s death in 2019, just one year after the passing of her mother, Ruth. The deaths of her parents were followed by more heartbreak, as her marriage to TV chef Phil Vickery soon “fell apart”.

The couple announced their split after two decades together in 2020. Fern and Phil haven’t spoken in several years, with Fern claiming that her ex “stopped talking to me” after her mum died.

“My mum died in 2018 and my dad died in 2019, and then my marriage died,” Fern previously told The Telegraph.

Fern Britton’s body transformation

The 68-year-old star recently revealed her weight loss to fans on social media, after losing five stone.

Fern has since spoken about the massive change she made to her diet and how it has influenced her weight loss journey.

Speaking on the Postcards From Midlife podcast, she said: “I realised the sugar intake. I’m addicted to sugar and, funnily enough, if you’re not eating doughnuts, biscuits, cake, jam, you know… it makes you feel a lot better. So, now if I’m eating sugar, it’s too sweet for me because I used to be able to tolerate an awful lot.”

She added: “And like cigarettes as well, I used to be able to tolerate anybody smoking anything in my face, but now it’s like, ‘Stop it’. Apart from that, it was very much kind of sensible.”

Fern Britton: Inside the Vet’s is available to stream on ITVX

Irish actor Brenda Fricker, who won an Oscar for her role in “My Left Foot” and whose Pigeon Lady befriended Macaulay Culkin‘s Kevin McCallister in “Home Alone 2: Lost in New York,” has died. She was 81.

Her talent agent Phil Belfield confirmed Fricker’s death in a statement shared with The Times on Friday. The actor died peacefully Thursday evening in Dublin after a “period of ill health,” he said.

“We will never see her like again and the world is lesser for the lack of her,” Belfield said in the statement. “I was honored to know, love and work with her and she will always have a place in my heart and in the heart of so many film and TV fans the world over.”

Fricker, who was born Feb. 17, 1945, in Dublin, appeared in nearly 100 TV, film and short projects since the mid-1960s. She reached international acclaim for her work in Jim Sheridan’s 1989 comedy-drama “My Left Foot,” based on the life of Dublin-born painter Christy Brown, who only had control over the titular limb due to cerebral palsy. Daniel Day-Lewis starred as Brown and Fricker played his supportive mother. She earned the Academy Award for supporting actress, becoming the first Irish female actor to win an Oscar, and Day-Lewis took home the prize for lead actor.

“My Left Foot” was also nominated for best picture, director and adapted screenplay.

In her review of the film for The Times in 1990, film critic Sheila Benson praised a “magnificent” Fricker for her portrayal of motherly love. “She plays [Mrs. Brown] like the rock she must have been, without a jot of martyrdom or a flicker of complaint and without an actressy moment,” Benson wrote.

The ‘90s brought Fricker additional roles in productions including “The Field,” “Home Alone 2: Lost in New York,” “Angels in the Outfield,” “A Time to Kill” and “Veronica Guerin.” She counted Cate Blanchett, Joe Pesci, Tim Curry, James McAvoy, Fiona Shaw, Sean Bean, Richard Harris, Christopher Lloyd and Tony Danza as co-stars, to name a few.

For generations of movie audiences, however, Fricker will most likely be remembered as the Pigeon Lady from “Home Alone 2.”

A sequel to the hit “Home Alone,” Fricker’s Pigeon Lady was a source of unexpected tenderness for Culkin’s Kevin, now stranded during the holidays in New York. He first encounters Fricker’s odd character in Central Park, dressed in oversized, dirty clothing with city birds resting on her head and shoulders. Though a terrifying sight at first, the film later reveals Fricker’s character has a heartbreaking past.

“The man I loved fell out of love with me,” she tells Kevin one evening, adding, “whenever the chance to be loved came along again, I ran away from it. I stopped trusting people.”

Kevin later gifts his new friend a turtledove ornament after learning the animal represents friendship and love.

Fricker continued acting through 2015 — with roles in numerous TV movies, miniseries, more than 70 episodes of the show “Casualty” and films such as “Conspiracy of Silence” and “Rory O’Shea Was Here” — but her career tapered off. She was last credited for the 2024 film “The Shallow.”

Fricker attended Catholic school but drifted away from religion in her late teens. She suffered injuries from a car crash at age 14, prompting her parents to spend their life savings on plastic surgery as part of her recovery. She also suffered other health issues during childhood and spent two years in a sanatorium.

“The positive side is, it taught me about self-sufficiency,” she told The Times in 1993.

She was a journalist for the Irish Times, where her father had also worked, before she started acting. She graced the stage at Dublin’s Abbey Theatre and the Royal Shakespeare Company in London, and never looked back.

Amid her mounting fame in the 1990s and early aughts, Fricker did not heed the call to move Stateside and lived in the U.K. before ultimately returning to Dublin. “I didn’t like Los Angeles,” she recalled in 1993. “I don’t like the heat and I found it uninteresting. I wasn’t comfortable there.”

Before her death, Fricker penned a memoir, “She Died Young: A Life in Fragments,” about her upbringing and experiences with sexual violence and mental illness. In February, Fricker was awarded Honorary Freedom of the City of Dublin.

Lord Mayor of Dublin Daryl Barron honored Fricker in a statement shared Friday.

“She was a proud Dub with a sharp wit and warmth that exuded to all who knew her and experienced her work,” Barron said. “She will be sorely missed.”

It feels like the World Cup started only yesterday, but we’re quickly approaching the final between Spain and Argentina on Sunday. Even if soccer isn’t a sport you typically watch, it was hard not to get sucked into the enthusiasm of the game and cheer for the teams, whether you had a connection to a particular country or not. If you’re among the viewers who are going to feel a little melancholy after it’s all over, you’re not alone. Culture critic Mary McNamara has been enthusiastically following the matches, and if you’re feeling more globally minded as a result, she came up with a list of international TV shows to watch when the the World Cup is over.

My colleagues at De Los, who, like many of us, have been watching the matches on Telemundo (I count myself among them), might be following up their World Cup viewing with some episodes of “El Señor de los Cielos,” the network’s long-running series starring veteran Mexican actor Rafael Amaya. The ads for the show have been a constant between timeouts and matches, and I’m intrigued. And I’ll admit the racy ads for “El Turco” also caught my eye — Telemundo knows exactly what it is doing.

And as the global event winds down, if you’re still hankering to watch something sports related, you’re in luck because Netflix released its latest comedy starring Will Ferrell, “The Hawk,” in which the comedic actor plays Lonnie “The Hawk” Hawkins,” the greatest golfer in the world. The series, which Ferrell created with longtime collaborators Harper Steele and Chris Henchy, reunites him with fellow “Saturday Night Live” alums Molly Shannon and Chris Parnell. However, the person you’ll see him most with onscreen is his co-star Fortune Feimster. The stand-up comedian and actor dropped by Guest Spot to chat about the new series, her experience with golf and what it was like to go toe-to-toe with Ferrell, one of her comedy heroes.

Also in this week’s Screen Gab, our writers recommend a romance horror film that set the internet ablaze earlier this year and a classic British spy series. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Inde Navarrette stars as Nikki and Michael Johnston as Bear in “Obsession.”

(Focus Features)

“Obsession” (Peacock)

After earning $428 million worldwide at the box office (on a $750,000 budget) and sending shock waves through Hollywood, the cautionary love story in this romance horror film hits streaming. Directed by YouTuber-turned-horror-auteur Curry Barker, the film follows Bear (Michael Johnston), a shy, hapless guy who, after being unable to summon the courage to confess his feelings for friend and co-worker Nikki (Inde Navarrette), dubiously turns to a one-wish willow toy and hopes for her to “love him more than anyone else in the world.” And, well, the results are chilling — in large part due to Navarrette’s ability to go from completely charming to completely frightening with just her face. If you want to understand some of the online discourse the film has ignited — what it says about consent, its plot holes, whether it’s worthy of the hype or just what the heck was up with that walking backward moment — here’s your chance to see what all the fuss is about. — Yvonne Villarreal

Patrick McGoohan stars in the 1967 TV series “The Prisoner.”

(ITC Entertainent)

“The Prisoner” (Criterion Channel)

The 17 episodes of “The Prisoner,” Patrick McGoohan‘s 1967 existentialist, anti-authoritarian, anti-nationalist, mod-a-go-go avant-garde ode to individualism, have been given a deserved berth in the cinematic pantheon that is the Criterion Channel, looking clean and crisp and immediate. Created in an era rife with screen spies — including the one creator-star McGoohan had previously played in the show aired here as “Secret Agent” — its hero is a British operative who resigns his job in the opening credits, only to find himself imprisoned in a fanciful seaside village — a kind of Baroque hilltown impression of a holiday camp. His unidentified jailers believe there must be a darker reason for his resignation and spend the series attempting it to extract it with elaborate charades, gizmos and gadgets, while our hero spends it trying to bring them down and/or escape. (A giant floating white ball provides creepy security.) Unwilling to bend, impossible to break, McGoohan at once upends the James Bond mythos and provides a dashing hero, clever, witty and terribly attractive. — Robert Lloyd

Guest spot

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

In “The Hawk,” Fortune Feimster plays Sam, who becomes the caddie for Lonnie (Ferrell).

(Colleen E. Hayes / Netflix)

“The Hawk” gives us a tour of the golf world through the eyes of the titular Lonnie Hawkins (Ferrell), whose better days in the game appear to be behind him. With his trusty caddie Old Henry (Keith David) by his side, he’s feeling like things are looking up — until Old Henry dies suddenly. Lonnie is heartbroken, but he’s not deterred, choosing to continue his ambitious return to the PGA Tour, leading him to be extremely late to Old Henry’s funeral and making a disastrous entrance.

But who will be his new caddie? Enter Sam, played by Feimster, a drifter Lonnie meets in a Walmart parking lot when he pulls over his tour bus. Sam’s late-model Cadillac is broken down in the parking lot, but that doesn’t get her down. Lonnie and Sam strike up a fast friendship, and before you know it, she’s driving his bus and working as his caddie on the course, encouraging him as he goes up against foes like Golden Fisk (Luke Wilson), Anton (Parnell) and even his own son, Lance (Jimmy Tatro), with whom he has a difficult relationship. Her methods are unusual — Sam doesn’t know much about golf, but their mutual love of fast-casual dining and pickles (a running gag in the show) gets them through.

“I’m excited for people to see another big broad comedy,” she says about “The Hawk.” “You know, we need to laugh. That’s what’s been missing, I think, from our current times is we need some more laughter, some more levity.”

The actor spoke about hers and Ferrell’s onscreen friendship, which has become a real-life friendship thanks to their mutual love of sports, how a silly musical moment in the finale came together and why you might see her and interior designer Jeff Lewis together again soon. — M.G.

I feel like a lot of your comedy has some sensibility of who you are as a person and where you come from — the South. How did you relate to Sam in this series?

The heart of Sam was something I really responded to. I love that this was a really silly, wacky character where I got to show off the broad comedy that I often enjoy doing. But I appreciated the trajectory of the character, that they allowed me to have this range where I got to show emotion and be disappointed and angry and just go through a mix of emotions as an actor. That was a really cool road to get to go down. But I love the heart that she had. And I think that’s something that I try to incorporate in my own life, positivity and cheering people on and that belief in people that they can do it.

How much did you know about golf before taking role?

Not much, honestly, other than a few rounds at Top Golf. [Laughs] I’m a sports gal. I love sports. I played sports my whole life, but for whatever reason, golf was the one sport I did not partake in … I even played college sports. This was the one I didn’t have much knowledge of, but luckily my character did not need any knowledge of golf. It almost was beneficial that I did not know what I was talking about. So when Will’s character needed a club, and I had no clue which one it was, that was all very real.

Do you think the show helps make golf more relatable? Golf is presented as a highbrow sport, but Sam and Lonnie, they’re grounded. He found Sam in a Walmart parking lot.

I definitely think it makes it more palatable for people that aren’t familiar with that world. I think that’s why you start rooting for this character, because he’s the outsider that doesn’t necessarily fit in that world. You kind of like that chaos that he brings to this very posh, very put-together sport. That’s why I think you find a lot of comedy in the juxtaposition of that. Comedy’s all about tension and release, and you have a lot of tension with that stuffy golf world and that competition, and then the release is this fun comedy, ridiculous people, crazy outfits — it’s fun to watch the two worlds collide.

I’m so glad you mentioned crazy outfits because there’s this scene where Sam gets herself a leather suit as a reward. Was it hot to wear?

As a comedian, the suit was incredible because it was so ridiculous. And of course, my character would waste her money on something like that right away instead of being responsible with it and saving it. As an actor, that suit was so, so hot. We were filming in the hottest parts of the Valley of L.A. and they did everything they could to make it not just like … my body sweated every two seconds. It sure was rough at times. But for the look of it all and the comedy of it all, it was worth it.

There’s another great moment, in the finale, where you’re trying to motivate Lonnie and you start singing the Chili’s “Baby Back Ribs” song. Was that in the script?

That was in the script, mainly just because anything song related had to have clearance. But there was a lot of riffing between him and I about fast food restaurants and about restaurants in general, and a lot of that was off the cuff, he and I just talking as people about all the fast food restaurants we love. The Chili’s song is that iconic jingle that everybody knows. We took it very seriously getting to sing it with each other … and we were practicing like, “OK, you take this part,” and he’d be like, “OK, no, you keep going, and then I’ll come in.” It felt like a real musical situation that we were prepping for.

Oh, my God, I need to see that outtake. I would be dying.

Luke [Wilson, who plays Golden Fisk] said he had passed by us practicing, and he said it was such a surreal moment seeing how serious Will and I were taking this song.

Fortune Feimster as Sam and Will Ferrell as Lonnie in “The Hawk.”

(Colleen E. Hayes / Netflix)

Speaking of Will, I went through our archives and you told one of our writers in 2023 that you hoped to one day have a career like Will Ferrell’s. Now you’re starring in a show with him. What was it like working with him, and do you feel like you’re getting closer to that goal?

The experience of working with him was definitely a dream come true — he and Molly Shannon, the fact that I’m with both of them on the show is pretty crazy. I feel like everyone growing up has their “SNL” cast that they are like, “That’s my cast, that’s who I watched every Saturday,” and they were definitely my cast. My early knowledge of comedy comes from them, and I’m sure there’s a big influence of them in my comedy now, having watched them religiously. To now be on a show with the two of them does not feel real at times.

What’s nice is I’d done two movies with Will, like very small parts, and had hoped that that would lead to something more in the future and was so lucky that it did. But we really got to know each other a lot better on this show, obviously, because I was basically his right-hand person the entire show. I would say 85% of what I filmed was with him. We just hit it off right away. Our energies are very similar. We’re very similar in our outlook. Our sensibilities of comedy are very similar.

We became genuine friends. He’ll pick me up and take me to a Lakers game. We just went to the World Cup game together. We definitely have a bond of sports. It’s so cool to not only get to be working with someone I admire so much and a comedy hero, but to now be genuine friends, it’s pretty incredible. I’m so lucky that I’m in that position.

What World Cup game did you guys go to?

We went to USA vs. Turkey here in L.A. He wore his visor that says “Hawk” on it. We kept trying to get the camera guy’s attention because we weren’t sitting in a box. We wanted to be in the mix … with the fans, and so no one expected to see Will sitting there amongst the fans.

After halftime, they go around and show different [celebrities] like, “Leonardo DiCaprio is here.” I said, “Will, the camera guy’s looking at us.” Everyone in our section got really pumped about it. We show up on the Jumbotron, and our whole section starts going nuts. And I’m pointing at Will’s hat, he’s dancing, and we didn’t know that it was also on TV. My phone blew up for like the next 30 minutes because everyone and their mother was watching this soccer game. We ended up inadvertently promoting “The Hawk” on this really big world stage.

What’s a TV series or film that you’ve watched recently that you’re recommending to everyone?

I feel like it’s not something that I have to recommend, so many people know of it, but I really loved “Hacks” [HBO Max], and especially this last season of it, I felt like they wrapped it up so beautifully. Sometimes these shows have this good run, and then they sort of fumble it at the end, and I just thought the way they ended that show really serviced all of their characters in such a great way and highlighted this really beautiful friendship from people of different generations.

What’s your comfort watch, a TV show or film that you love to return to and watch over and over again?

A movie that I could watch no matter what … is “Bridesmaids” [Peacock, Hulu]. That movie never gets old. I just think it’s one of the best comedies. Of course, as a female comedian, I love a group of women doing funny things together. And those particular women are just so incredible. I’ve gotten lucky enough to work with Kristen [Wiig] and Annie [Mumolo] — I did “Barb and Star [Go to Vista Del Mar]” with Kristen and Annie. Even though I was a tiny part of that movie, I can watch that movie over and over again. I just love their sensibilities as writers as well.

I promised my colleague I would ask you one more question, about getting your house renovated by Jeff Lewis on “Flipping Out” and what that was like.

That always cracks me up how many people saw that show. I’m working with him right now. I have a new house that he is helping with at the moment.

I mean, listen, he’s a big personality. There’s a reason why they gave him “Flipping Out” for so many years that he has a radio show now [“Jeff Lewis Live” on SiriusXM], and they’re actually bringing his “Flipping Out” show back [“Still Flipping Out” on Bravo], which I did a little bit of that show as well. But as an interior designer, he definitely has this — he kind of walks into a space and you see him calculate things, like “A Beautiful Mind,” where he’s seeing everything in front of him, and he’s very decisive. I’m very indecisive with interior design. Even though he has this … over-the-top personality, as a designer, he’s so gifted. And when you see his work, you’re like, “Oh, my God, this is incredible.”

Obviously he and I have a funny rapport with each other, but now also doing this house, I feel like I’ve learned even more to the point where I know when to give it back to him a little bit. He likes that little ribbing of each other.

ICYMI

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EAST RUTHERFORD, N.J. — The spotlight on Sunday’s World Cup final will shine brightest on two men, one playing the last game of his sixth tournament and the other the final game of his first.

Argentina’s Lionel Messi, 39, is arguably the greatest player in World Cup history, having played more games, scored more goals and collected more assists than anyone who has gone before him. If Argentina wins Sunday, he’ll match another record as captain of the first team to win back-to-back titles in 64 years.

Spain’s Lamine Yamal, who turned 19 on Monday, may be the heir to all that. He’s already scored 56 goals and won seven major trophies for club and country; Messi had 11 goals and four trophies at the same age.

But these are more than just two ships passing in the night. If fact, this isn’t even their first meeting, although neither remembers the day they were introduced in 2007.

Messi was a shaggy-haired 20-year-old, just beginning his unparalleled career with Barcelona while Yamal was a cherubic 3-month-old, just beginning his life. They came together after Yamal’s mother, Sheila, won a raffle run by a local newspaper and Barcelona’s shirt sponsor, the children’s charity UNICEF. She was told the child would pose with an unnamed first-team player for a photo that would appear in a fundraising calendar.

When she carried her son into the dressing room at Barcelona’s stadium for the photo shoot, Messi appeared, having been chosen by chance. The pictures of a clearly uncomfortable Messi helping Sheila bathe her son in a blue plastic tub were published, then forgotten, until Yamal helped Spain win the 2024 European Championship. After the tournament Yamal’s father, Mounir Nasraoui, posted the picture online with the caption “The beginning of two legends.”

Lionel Messi, then 20, helps bathe Lamine Yamal, who was 3 months old, with help from Yamal’s mother, Sheila Ebana, during a photo shoot in September 2007 in Barcelona.

(Joan Monfort/Associated Press)

“It’s unbelievable,” Yamal’s teammate Mikel Merino said Friday. “The first time I saw it, I thought it was AI. It’s funny how life works sometimes. You have these situations you think is scripted by someone. But it’s just how life works, the coincidences of life.”

That they’ll meet again Sunday afternoon at MetLife Stadium seems more like destiny than coincidence, but who wins the reunion may be decided, in part, by factors other than the play on the field. Smoke from nearly 900 wildfires burning in Canada have blanketed a large swath of the U.S., from Chicago to New York, resulting in poor air quality that forced the postponement of one MLS game Thursday.

The sky above the open-air stadium in East Rutherford, N.J., was noticeably clearer Friday and could improve even more with the heavy rains forecast for Saturday. If those rains linger, however, that could also affect what is shaping up to be a battle of the ages.

Messi has carried Argentina into its third World Cup final since 2014, matching France’s Kylian Mbappé with a tournament-best eight goals and leading all players with 12 goal contributions. Four of his scores either tied the game or put Argentina in front and in Wednesday’s frantic comeback win over England, Messi assisted on the tying and winning goals seven minutes apart.

He seems guaranteed to win his third Golden Ball, which goes to the tournament’s outstanding player. He’s already the only player to win the award twice.

Yamal now plays at Barcelona, Messi’s home for 17 years, and he’s proven to be the same kind of game-changing left-footed playmaker, leading the team in goals (24) and assists (17) in all competition and winning La Liga’s player of the year award this season. Last year, at 18, he finished second in the voting for the Ballon d’Or, an award Messi won eight times.

He’s been quieter in the World Cup, with just a goal in seven games, but Spain has never lost a match he’s played in, going 21-0-6.

Yamal’s father was born in Morocco and his mother in Equatorial Guinea before moving to Catalonia with their families as children. Yamal grew up in a working-class, largely immigrant neighborhood the Spanish newspaper El País described as “forgotten, isolated and stigmatized.” His parents separated when he was 3 and while both remained present in his life, it was his paternal grandmother, Fatima, who sacrificed to support the boy, managing his daily routine to make sure he attended training sessions.

That devotion paid off when Yamal, then just 7, was invited to live and train at Barcelona’s famed La Masia academy, the same academy the Argentina-born Messi had entered at 13. When Yamal signed his first long-term contract with the team 14 months ago — a contract that could pay him more than $45 million a year in wages, bonuses and sponsorships, making him the team’s best-paid player, as Messi once was — he was given the No. 10 shirt Messi wore.

“In every match he shows that he is the best player in history,” Yamal told a Spanish newspaper. “If someone has doubts, it is because they are looking for them. There is nothing more to say there. For me, he is the best.”

Spain forward Lamine Yamal controls the ball during a World Cup quarterfinal against Belgium at SoFi Stadium on July 10.

(Ronaldo Bolanos/Los Angeles Times)

The comparisons and the praise flatter him, said Messi, who then used the same words to describe Yamal as the best.

“There is a new generation of footballers who are very good and who have many years ahead of them. But if I have to choose one because of age, for what he has done so far and for the future he may have, it is Lamine,” he told the Spanish sports journal Diario Sport in May.”There’s no doubt, for me, he’s the best.”

For all the similarities, there are differences. Yamal plays with much more speed and street-football flair and is far more prolific than Messi was at the same age. And while a young Messi focused almost entirely on soccer, Yamal has learned to speak three languages fluently and, unlike Messi, hasn’t kept his politics hidden, waving a Palestinian flag during the club’s parade through Barcelona celebrating its La Liga title last May.

And remember that charity calendar photo with Messi? The one that raised money for UNICEF? Last month Yamal became a goodwill ambassador for the group, focusing on the right to play and supporting children living through humanitarian emergencies.

Turns out some pictures are worth more than a thousand words.

Kris Jenner’s mom, Mary Jo “MJ” Shannon, has died.

Jenner announced the news of Shannon’s death Thursday in an Instagram tribute. She was 91.

“Today, we said goodbye to my beautiful Mommy MJ. … There are no words that could ever capture what she has meant to me or the heartbreak of having to say goodbye. My mom was the heart of our family.”

Jenner wrote that her mother, the matriarch of the Jenner-Kardashian clan, taught her everything that “truly matters.”

“To love your family fiercely, to be kind, to show up for the people you love, and to never take a single moment together for granted,” she wrote alongside a glamour shot of Shannon. “She taught us that family is everything. She showed us how to love unconditionally and how to find joy in the little moments. She showed me how to face life’s challenges with resilience and faith.”

Jenner concluded the post with an open letter to MJ:

“Mom, thank you for every sacrifice you made, every piece of wisdom you shared, and every moment you loved us so completely. I will miss our daily talks, your smile, your laughter… Our hearts are broken, but we find comfort knowing that love like yours never truly leaves us. Your love will live on in our family, in our traditions, in every moment we are together, and in every life you touched. When I look at my kids and my grandkids, I will forever see pieces of you in all of us. There is not a part of me that isn’t shaped by you. And if I have done anything right in this world, it’s because I spent my life trying to live in a way that would make you proud. Every memory, every moment, every blessing, it was all because of you, and I will forever thank God every single day for making you my mommy. My heart is broken into a million pieces… thank you for giving me the greatest childhood and oh what a beautiful blessed life… I love you forever Mommy. Thank you for giving us everything.”

Born Mary Jo Campbell on July 26, 1934, MJ married her high school sweetheart, whom she divorced two months later. Then in 1954, she wed Jenner’s dad, Robert “Bob” True Houghton. She gave birth to Jenner the following year and Jenner’s late sister, Karen Houghton, in 1958. After seven years of marriage, MJ and Bob called it quits and she married Harry Shannon, a businessman who helped raise Jenner and her sister in San Diego, where MJ ran a children’s clothing store.

Harry Shannon died in 2003.

MJ was featured on the famous clan’s E! reality series “Keeping Up With the Kardashians” and the follow-up Hulu series “The Kardashians” numerous times over the years. In a clip from the show, granddaughter Kim Kardashian detailed that her grandmother had survived colon cancer and breast cancer and, in her sunset years, struggled with sickness resulting from the cancer treatments.

In one clip from the show, MJ said she didn’t have an appetite without taking her “medication” first. Then she persuaded her daughter, Jenner, to have marijuana gummies with her. Together they lit some incense and munched on muffins and chips and guacamole.

In another clip, Jenner interviews MJ about her life, and during the sit-down, Jenner asks MJ, “What’s your biggest fear?”

MJ replies, “I try not to fear,” and then follows up asking Jenner what her biggest fear is.

Jenner starts to cry and says, “I don’t want to say it. I can’t believe I’m crying. … Just, losing someone.”

On Thursday, Kim Kardashian caught flak online when a post featuring the Skims mogul and her sister Khloe Kardashian swigging tequila from a boat on a lake published shortly after Jenner announced the news of MJ’s death.

“This post was scheduled a few days ago before we lost MJ, so its timing came right alongside her passing,” Kim wrote in the comment section of the post. “I’ve been by my mom and grandma’s side this past week, and my heart is completely with my family right now. We love and miss her so deeply, and in the days ahead, we’ll be focusing on celebrating her beautiful life.”

Kim followed up with a post celebrating her grandmother, writing, “My sweet Grandma MJ, my best friend, my gossip buddy, my forever twin … You taught all of us the importance of family, and those values are something we’ll carry with us forever!!!!! You were the woman who showed me what it meant to be a hardworking businesswoman. You gave me my very first job at your store in San Diego and taught me lessons about work ethic, strength, and confidence that I’ve carried with me ever since.

“You always believed in me, championed me, and were my safe place. You truly were the matriarch of our family, and your love is woven into all of us. I know you’re at peace now. Give Papa Harry, Aunt Karen, and my dad a hug for me. You will always be a part of me, I love you soooooo much and I will miss you forever and ever. … YOU ARE THE BEST OF US!!!”

Two weeks ago, Jenner’s bodyguard, Mason Haynes, who also worked as a close protection guard for other members of the Kardashian-Jenner family, died in a traffic accident. He was 52.