life

Thirty-five years after his death, jazz giant Miles Davis, who would have turned 100 years old Tuesday, remains a truly larger-than-life figure in music and well beyond.

Still possessor of the biggest-selling jazz record in history, “Kind of Blue,” Davis casts a huge influence over the whole music world for his uncompromising artistic vision, constant evolution, style and more. Though he came from jazz, he may be the biggest rock star there ever was. Talk to any musician, regardless of genre, and they will tell you Davis defined swagger and cool. He had a vibe unlike that of anyone else.

In honor of Davis’ centennial, The Times spoke to an array of notable artists from all walks of music, some who knew and played with him, some fans of the man, but all agreed, Miles Davis was and is a singular force in music, an artist like no other in his vision, passion and feeling for the music. In short, there was only one Miles Davis.

‘A complete innovator’

Chuck D, rapper: I like Miles Davis and all the exterior aesthetics. I like the Blue Note album covers, Prestige album covers, his style, his way of life.

Cindy Blackman Santana and her husband Carlos Santana in 2019.

(Ethan Miller / Getty Images)

Cindy Blackman Santana, drummer: Stylistically, Miles was a complete innovator. I remember hearing him say that he didn’t play right if he wasn’t dressed right. That is completely something that inspires me as well, because it becomes not only what you’re putting out on your horn or your drums or your guitar or your piano, but it’s your whole being that is expressing this innovative approach to music and to life.

Bilal, singer: If you play the music you’ve got to look the part, and it was almost like he got into a movie role or something like that. But he was always into the clothes … It was almost like every era had a different outfit. But, yeah, I definitely take his style. The clothes make you feel a certain way to play that way. So that’s the vibe. You’ve got to have that character, that attitude.

Emmet Cohen, left, performs with Terence Blanchard at Lincoln Center in 2025.

(Slaven Vlasic / Getty Images for Find Your Light)

Emmet Cohen, pianist and composer: I think when you listen to Miles’ records you can really appreciate them all the way through and there’s something in there for all sides of humanity. Whether it was the Prestige records that he pumped out in a couple of days, or there was “Birth of the Cool,” he just knew how to assemble musicians and let them tell their stories. And the storytelling is really where I think the deepest connections are made. He was a rock star, but he had a story to tell. And that always comes first.

‘Always evolving’

Guitarist Lenny Kaye performs onstage at Carnegie Hall in 2023.

(Noam Galai / Getty Images for Tibet House US)

Lenny Kaye, guitarist: He started in the bebop era, with the immortals of that moment in time. But I always got the sense that he was looking for something else. He didn’t want to participate in the faster-than-light speed changes and virtuosity. So, I really respect the fact that when he moved into “Birth of the Cool,” he pulled it back so he could inject more of his human self into it. And over the years, he kept on doing that, “Sketches of Spain,” “Kind of Blue,” one of the most jazz friendly records of all time.

Flea, bassist: Every time Miles changed it up, he destroyed everything that came before. He is the ultimate artist, always evolving, always coming organically from the depths. His music is the warmest and the wildest.

Flea of the Red Hot Chili Peppers released a solo jazz album in March.

(Allen J. Schaben / Los Angeles Times)

Bilal: I really like his electric era, but I would say I keep discovering and rediscovering stuff from Miles that I’m just like, “Damn, man. It’s like it’s another artist because he went through so many different changes.” … The other day I found his “Sketches of Spain” record. I put it on. I was like, “This is crazy. I forgot he was into this too.”

Wyclef Jean, rapper: When you go through Miles’ whole catalog, you see you can have quiet days. You can have loud days. You can have explosive days. But the key is that consistency. And that discipline.

Kaye: I respect Miles. For me, he’s an artist that transcends the jazz genre. He’s so alert to the shifting moods of the culture, the directions of the music. And what I find fascinating about him is his ability to morph into new styles and to keep challenging himself. One thing about Miles is that he doesn’t repeat who he is.

Musician Ron Carter in 2011.

(Theo Wargo / Getty Images)

Ron Carter, bassist: We always thought that we were honored to have Miles hire us out of other guys who were available to him. The first few gigs, we had a couple of weeks up and down the West Coast, and everybody but Miles was trying to find out what the tunes were, what the changes were. I was just trying to do what I thought was necessary to make this guy think he hired the right guy and make the band sound good. … Whatever his method was, it was successful.

Ibrahim Maalouf, trumpeter: Quincy [Jones] always spoke about Miles not just as a genius, but as someone who knew when to move on. And that’s a lesson I still carry with me every day.

Kaye: In “Bitches Brew” he created the template for what would be jazz fusion and made rock ‘n’ roll an important part of his evolution. Just an artist who never stands still and that is what I personally respect and honor within his work. When he saw what an artist like Jimi Hendrix was doing, he thought, ‘Yeah, I know how to access that and not be Jimi Hendrix. I can be myself.’ He understood the tides of cultural transformation as much or better than most musicians of the 20th century.

Don Was performs onstage at Ryman Auditorium in Nashville in 2022.

(Jason Davis / Getty Images for Americana Music)

Don Was, musician and producer: In life, as exemplified by music, if you don’t change, you stagnate. And the thing about Miles that really stands out, I think, is that he was always willing to risk losing his audience in order to keep moving forward. He was courageous in every era, including eras when maybe courage wasn’t held at a premium.

‘More than that’

Maalouf: For me, as a trumpet player, of course, the musical influence; space, phrasing, silence, we can talk about this for hours. But I think that more than that, there’s an attitude.

Ibrahim Maalouf performs at the Paris 2024 Cultural Olympiad at L’Olympia on July 24, 2024, in Paris France.

(Julien M. Hekimian / Getty Images)

Trombone Shorty, musician: Miles has inspired me because of that attitude, ‘I’m going to do what I want.’ He was playing what he felt in whatever time period or whatever decade he was inspired by. He really embraced that tremendously. And that’s always the thing that I admire about him as a person and as a musician. Whatever the spirit is, he’s going to go with that. That’s what I always got from Miles.

Nas, rapper: With Miles it wasn’t just about the music he made, it was about how he carried himself as an artist and a pioneer. His impact on me personally is as much on a human level as it is on the artist level.

Trombone Shorty performs at the Anaheim Convention Center in 2015.

(Jesse Grant / Getty Images for NAMM)

Trombone Shorty: The swagger, he may have created the swag.

Vince Wilburn Jr., nephew and drummer, who now co-manages Davis’ estate: He liked to catch things, that’s why the tape kept continuously rolling, because he said it was songs inside of songs.

Carlos Santana, guitarist: “I recommend that people who never heard of Miles Davis, I’ll say start with “Kind of Blue,” then move on to “Bitches Brew.” Because the thing about Miles Davis is that he teaches people who have never meditated how to stop and be coherent about absoluteness. In one note, Miles can play absoluteness. One note for Miles, like Billie Holiday, like Cindy says, that’s enough to understand all the whys and all the reasons why it’s sacred to be alive.

Was: He probably changed the face of music more than anybody did, at least four or five times. Maybe more than that. It’s a combination of mastery and an unstoppable spirit of adventure that I think make him unique. Because he was absolutely a master of harmony, rhythm, of creating a vibe. Yet he loved upsetting the cart and I think went out of his way to create friction musically, within the band, to keep things stirred up constantly and make every day an adventure. It requires tremendous courage. But also, supreme excellence to do it on the level that he did with the level of musicians that he surrounded himself with. That’s another thing, too. He wasn’t just the most innovative man on the horn. His genius was also as a curator of human chemistry.”

‘Larger than life’

Musician Wyclef Jean performs in 2023.

(Christian Petersen / Getty Images)

Jean: The main thing that I learned from Miles at a very young age is just the braveness, you can’t be scared to just go. Going doesn’t just mean learning one part of it. It means learning the entire metrics. … When it comes to Miles, he’s just a complete teacher; even on how he sees art, how he sees shapes, and also there’s a whole part of Miles that’s tough love when it comes to it. So, all of that instills character.

Bilal: As an older musician, you could see all of the building blocks are in those records. If you take some of those records out, I don’t know where jazz would be. You can see the essential building blocks.

Izzy Escobar, singer: Miles Davis made jazz feel cinematic to me. When I listen to songs like “It Never Entered My Mind” or “Flamenco Sketches,” there’s mystery, romance, restraint and tension in every note. Nothing feels overdone, yet somehow it says everything. As a songwriter, that’s deeply inspiring because the best music doesn’t just sound good … it creates an entire world you can step into. I think that’s why his influence has lasted a century. His music still feels fearless, elegant and emotionally alive — all of which never go out of style.

Jorma Kaukonen, guitarist: I had always thought of jazz as somewhat of a haughty art form. Probably because at the time many of the time signatures and chordal progressions that Miles used were over the head of a young guitar player still functioning in the blues and folk idioms. … The growing rock and art movement in the Bay Area in that era taught us to eschew boundaries and labels, and it became possible to see similarities and possibilities with jazz music that would have gone previously unnoticed. Our harmonic tendencies were nowhere near as complex, but they were rapidly becoming more sophisticated thanks to our exposure to such great improvisers as Miles! Miles knew no boundaries.

Jean: One thing that I learned from Miles is someone can have the best technique. They could be moving around. But if you can dig and play from your soul, this instrument just becomes a vessel of sound and orbit, bro, it’s over. There’s a connection with the soul. And I wouldn’t be able to do that, bro, if I didn’t have people like Miles to really teach me how to hear.

Theo Croker plays trumpet the Kennedy Center in 2018.

(Paul Morigi / Getty Images for Thelonious Monk)

Theo Croker, trumpeter: He was definitely a larger-than-life figure. And it encourages me to be a larger-than-life figure. Growing up as a kid, we sit in a room all day and play trumpet for hours. You see somebody like Miles Davis and you’re like, “Wow, I can be a rock star.” Because I couldn’t sing, otherwise, you end up being a pop star, Prince, Michael Jackson and Stevie and all that. But Miles was that for the trumpet, of course. So, it’s so much bigger than music.

Musician Mia Doi Todd performing in 2012.

(Paul Redmond)

Mia Doi Todd, musician and singer: Miles Davis was such an outstanding band leader, bringing together a group of musicians and seeking to break the boundaries. That is what I look to him most for as a celestial mentor, being a band leader and creating those sonic landscapes. The records that I love most of his are from that electronic jazz fusion era, which weren’t his most popular at the time. I love “On the Corner.” I’m a person of mixed race, so the records that he was bringing together, all these different musical elements, those are the ones that I really admire … “I wish I could play in that band.”

Maalouf: There’s this idea that music is not about providing something. It’s about searching. It’s about staying alive artistically. I think that strength goes far beyond music, it’s really a message for all the musicians that we are. Never stay where people expect you to stay. Every time the audience thought they understood him, he changed direction. And I think that’s definitely one of the most inspiring parts of his musical life.

Was: I never met him. But he was a heroic figure to me as a teenager, very much in the same way that simultaneously, like Bob Dylan and the Rolling Stones were, or John Lennon was, or Allen Ginsberg was.

Bilal performs in New York City in 2023.

(Roy Rochlin / Getty Images)

Bilal: That [artistic vision] is a major influence that I take from Miles. … I always approach the music in that way where you got to do your own thing. You’ve got to have something to say, and you’ve got to want to evolve and always look for ways to grow and change and with the music. Miles was quintessential at that.

Trombone Shorty: To me, Miles Davis was a real rock star. It just wasn’t the sound. When he walked on stage … he looked the way that the music sounded to him. … And as he grew, he just really embraced everything that was coming to him, and he didn’t run away from it. He wanted to have his influence and also be tremendously influenced by things that were happening. He was just the coolest; when they say cool, Miles Davis has to be next to that word.

‘Playing within the language that he created’

Nas performs in New York City in 2018.

(Bennett Raglin / Getty Images for Jenn-Air)

Nas: I think Miles’ impact on every inch of music after him is the most impressive part. Musicians from every genre speak on his influence. It has no language or cultural barriers.

Jean: I would literally tell everybody to do a deep dive and start with early Miles, start from the bebop and the blues, don’t just go in. I started my daughter with “Birth of the Cool.” Now she’s vibing and slowly working her way up.

Musician Vince Wilburn Jr. in 2011.

(Theo Wargo / Getty Images)

Wilburn Jr.: Style, creativity, forever evolving, ever looking back, unapologetic. Lenny White used to say everybody wanted to live and be like Miles, all the musicians. You have Miles, and then you have everyone else.

Santana: Miles is what I call a sacred rascal, a divine rascal, a genius. When I’ve been in the room with Herbie [Hancock], Wayne [Shorter] and Tony [Williams], and the name Miles comes up, they all stop. It has such an impact on all of them to this day it shows that Miles is Da Vinci, Stravinsky, Picasso. Collect all the geniuses of this planet, and that’s what Miles is in one note. In one note, he reveals more because in one note, he teaches an individual how to hug infinity with emotions.

Kaye: I think of him as a lodestar for someone who wants to continually move music forward into the future because that’s what music is about. When you play music, you’re moving from one note to the next and creating the future of that piece. I just find Miles a fascinating creature of transformation. Miles, for all his artistic innovation, was a pop star.

Maalouf: Miles Davis’ legacy is not only a sound, it’s a mindset. He gave all of us the permission to be many people in one lifetime. It feels to me it’s the secret and he was generous enough to do it himself and show the world and especially the jazz world that is not always easy to please that someone can be many people in one lifetime. It’s not only true for music. It’s true for everything in life.

Cohen: He’s always on the cutting edge of the next thing and the next group of musicians that he finds. The story in that is that there’s constant change, constant evolution, and to find the thread throughout is kind of the meaning of life. And to play his music is the same thing. He created a language. So, when we play his music, we’re playing within the language that he created.

Was: “That’s why he’s that cat. He’s the most rebellious musician of all time, I think. He was the complete package man, no one more innovative or influential.

In 1951, not long after her breakthrough appearances in “All About Eve” and “The Asphalt Jungle,” Marilyn Monroe went to college: She enrolled in a pair of 10-week classes at UCLA’s adult-extension program, both covering literature. Looky-loos peeked through the windows. Some likely assumed a publicity stunt. But Monroe’s passion for books was sincere. An orphan who bounced around upward of a dozen foster homes and orphanages regretted that she’d never graduated high school, she moved often in her life but always made sure her books came wherever she went.

Gail Crowther’s “Marilyn and Her Books” is the story of that library, though more precisely it’s about what we’ve projected upon Monroe when we’re asked to consider that she had one. Our prevailing cultural reflex, then and now, is skepticism larded with misogyny. A famous 1955 photo of her sitting in a Long Island playground reading James Joyce’s “Ulysses” — one of 50 known photos of her reading — is routinely scoffed at whenever it’s posted online. (Crowther gathers up a sampling of misogynistic comments.)

But Crowther’s sleuthing determines that Joyce’s novel was a regular companion of hers, and she was particularly enchanted with Molly Bloom’s closing soliloquy. As an actor who had to be exceedingly smart to play dumb blondes, she used the shoot to make “a profound statement about her social positioning.”

Marilyn Monroe reads the book “To the Actor: On the Technique of Acting” by Michael Chekhov in a quiet moment at the Ambassador Hotel in New York.

(Ed Feingersh / Michael Ochs Archives / Getty Images)

Writing about Monroe’s reading habits demands a lot of speculation on the part of Crowther, who’s written engaging books on Dorothy Parker, Sylvia Plath and Anne Sexton. We know a lot about the star’s library — when she died in 1962, she owned more than 400 books, diligently cataloged and auctioned in 1999. There’s documented marginalia and scribblings that suggest a serious reader, and anecdotes about her reciting poems at parties, reading Proust on set, and expounding on Whitman, Dostoevsky and Tolstoy. She had strong opinions about Hemingway: “Those big tough guys are so sick, they aren’t even all that tough. … They always want to kill something to prove themselves.”

And Crowther literally has the receipts from Los Angeles and Beverly Hills stores like the Pickwick Book Shop, Martindale’s Book Store and Hunter’s Books, where she purchased titles that were practical (“How to Live With a Cat”), relatable (“Sister Carrie”) and weighty (a three-volume life of Sigmund Freud).

Her third husband, playwright Arthur Miller, suggests the purchases were largely a pose: In his memoir, he wrote that aside from some short stories and Colette’s “Cheri” she likely never read anything start to finish. It would be nice to know more, but as Crowther pointedly observes multiple times, journalists never thought to ask her about her reading. When the subject of literature came up, Monroe seemed compelled to play to ditzy expectations. After telling interviewers she wanted to play Grushenka in an adaptation of “The Brothers Karamazov,” they asked her if she could spell the character’s name. She demurred.

A clearer historical record might have blunted the sexist comments that have stalked her, and given Crowther an opportunity to do less guesswork. “Marilyn and Her Books” is scaffolded with 15 chapters, each dedicated to a question that usually can’t be answered in full: “Did Marilyn read all her books?” (probably not, who does?), “Did Marilyn suffer from imposter syndrome?” (probably, who doesn’t?). Some questions feel like attempts to pad the pages (“Are there any surprising omissions from Marilyn’s personal library?” “How did Marilyn’s reading compare to that of her contemporaries?”). The elegiac opening and closing chapters, in which Crowther imagines visiting Monroe’s home and scanning her shelves, also add to the feeling that too much is being extrapolated out of not enough information.

Curiously, the book also dwells little on Monroe’s own literary ambitions. Crowther shares a few scraps of despairing, Plathian verse, but almost entirely neglects her unfinished posthumous memoir, published in 1974 as “My Story.” Its relative shapelessness, along with its use of a ghostwriter, doesn’t bolster her literary credentials, but its existence points to Monroe’s ambition to have them.

And there’s plenty to say about the literary work that Monroe herself has inspired, including Joyce Carol Oates’ 2000 masterpiece, “Blonde,” or Sharon Olds’ poem “The Death of Marilyn Monroe,” in which a man who carted away her body is shocked into the reality of “a woman breathing, just an ordinary woman breathing.” Writers have afforded Monroe the grace and status in death that she was rarely afforded in life.

But the core question that drives the book, the subject of a central chapter, is valuable: “Why is Marilyn Monroe’s reading ability doubted?” Among other things, Crowther argues, Monroe suffered from a “poisonous cocktail of patriarchy, industry decisions, cultural stereotypes, social expectations, Marilyn’s unwitting complicity,” and more. Crowther keeps her focus narrowly on Monroe, but it doesn’t require a substantial mental leap to see how Monroe is just one example of a cover-model-worthy woman artist being told she’s a try-hard for demonstrating intelligence. (To pick just one example, the pop star Dua Lipa’s book club has a demonstrated high-literary bent, selecting Tommy Orange, Olga Tokarczuk and Percival Everett, which got her mocked as “an alien spaceship touching down in a medieval peasant village.”)

“Marilyn’s reading formed a concerted effort to overcome any inadequacies she perceived in herself,” Crowther writes. That, too, made her a lot like anybody who goes to books to satisfy gaps in our knowledge. We can do that in private, to avoid embarrassment. For Monroe, though, the effort was always public and always suspect — the culture was attuned to see any book in her hand as a prop. For most people, reading is an escape route. For Monroe it only led to one more cul-de-sac.

Athitakis is a writer in Phoenix and author of “The New Midwest.”

JODIE Marsh was once one of the most photographed women in Britain, with her belt-braced boobs becoming one of the defining images of early Noughties celebrity culture.

Back when today’s reality stars were still in nappies, and the world had ‘It Girls’ instead of influencers, Jodie was everywhere – splashed across lads’ mags, starring in her own TV shows and commanding huge pay cheques at the height of her fame.

She even penned books, launched fitness DVDs and became one of the country’s most talked-about glamour models.

Jodie first shot into the spotlight, tipped as the edgy alternative to glamour queen Jordan – now known as Katie Price – with the pair locked in a fierce rivalry as they battled to become Britain’s biggest pin-up.

More recently, it appeared Jodie had finally found peace after quitting showbiz to run an animal sanctuary in Essex.

The model devoted herself to rescuing animals and regularly shared videos introducing followers to meerkats, foxes, lemurs and marmosets living at the farm.

But pals say a string of devastating events slowly pushed her into isolation.

Now the former Celebrity Big Brother star is facing assault charges following an alleged incident at her Essex animal sanctuary – as pals tell The Sun of their fears for the once larger-than-life star.

One friend told The Sun: “After her mum died, something in her just switched off.

“She became far more isolated, and it was worrying.

“The irony is she spent years desperate to be photographed and talked about, but now the last thing she wants is to be the centre of attention.”

Jodie was left heartbroken in September 2020 when her beloved mum Kristina died following a battle with cancer.

The 47-year-old previously spoke of her anguish after claiming her mum was sent home from the hospital during the Covid pandemic despite battling an aggressive cancer.

Friends believe the loss deeply affected the star, who became increasingly withdrawn from public life in the years afterwards.

A pal said: “She only wanted to be around her animals – they are the only thing that brings her any joy.

“She felt safe around them, so she stayed in her own little bubble. “

Three years later, Jodie put her £1.5million Essex farm on the market following bitter tensions linked to the sanctuary and the animals she kept there.

While many local families regularly visited the sanctuary with their children, Jodie also became embroiled in rows with neighbours.

The TV personality previously went to court after attempting to adopt eight lemurs at the sanctuary.

She claimed Uttlesford Council’s refusal to grant a dangerous wild animal licence was unreasonable amid allegations she had previously taken a meerkat to the pub.

Our source shared: “She fell out terribly with her neighbours and absolutely dreaded seeing them – she became convinced they all hated her too, and it caused a lot of anxiety for her.

“Ultimately, she just wanted to live in peace. Having tensions in a place that is meant to be your sanctuary is just the worst.”

Then, in August 2024, tragedy struck when a fire tore through part of the farm and killed two of Jodie’s beloved marmosets.

An emotional Jodie later admitted she planned to “go far, far away” after the devastating blaze.

She said, “I don’t care about my house being destroyed; all I care about is losing two marmosets.”

A close pal explains: “The fire destroyed more than just the house, emotionally, that was the moment she completely unravelled.

“Behind all the glamour and bravado is somebody incredibly vulnerable and sensitive.”

Friends claim Jodie became increasingly isolated following the blaze and breakup of her most recent relationship.

They added: “Some of her friendships have fallen by the wayside because contact dwindled. Her older friends have been worried about her and did try and reach out, but not all of them heard back. She has a very small cirlce around her now. There was definitely some self-sabotage going on on Jodie’s behalf, although it’s not all on her.

“When Jodie is in a tough place, she does have a tendency to pull away, but her mates that have lost contact with her are still hopeful she will come back.”

Her last publicly confirmed partner was builder Mark, but the pair reportedly split in March 2024 after he struggled with the quiet lifestyle at the farm.

A pal said: “She does struggle with loneliness, but she also struggles to trust people, so it’s a bit of a catch-22.

“A lot of people in her life have badly scarred her, so it’s understandable she has her walls up a lot of the time.”

Last month, Jodie appeared in court accused of assaulting a man at the sanctuary. Essex Police confirmed a woman had been charged following an alleged incident at the site.

The former reality star was also accused of using threatening, abusive or insulting words or behaviour to cause or provoke violence against the man and a woman.

Appearing at Chelmsford Magistrates’ Court, she pleaded not guilty and was told a trial would take place in May 2027.

With a potential prison sentence looming, Jodie previously claimed neighbours had trespassed onto her land and filmed her animals before posting edited clips online to make them appear “skeletal”.

Speaking about one alleged confrontation, she said: “I’m scared to sleep in my own house. I’m scared to go out.”

Now, friends fear the once vivacious glamour model has completely retreated from the world she once dominated.

One pal told us: “It’s really sad what’s happened to Jodie, and we all really feel for her.

“She’s deleted her Instagram and now fully blocked the outside world from her life. It’s just her and her animals now.

“She lived this mad showbiz life for so long, it’s like she became addicted to the chaos and forgot what being normal was like.

“People think the fame disappeared overnight, but the truth is it was a slow-motion car crash.

“It’s been very sad to watch, but the one thing about Jodie is she is made of tough stuff and, like she has in the past, she’ll likely pick herself back up again.”

When approached by The Sun for comment, Jodie claimed the biggest ‘nightmare’ for her over the last few years, beyond the fire, is that she has been ‘harassed and stalked’ by her neighbours.

She accuses them of trying to bully her out of her home.

“I find it hard to trust people but the circle I have around me now are amazing and worth their weight in gold,” she says. “I trust them with my life. Everyone who comes to my home never wants to leave because it’s magical here.

“The animals are all so special and my life revolves around them. It’s a shame people like my neighbours are trying to ruin it for me. But good always wins over evil and karma is real. I will come out on top. I always do. Watch me.

“I’m living my best life and my dream life and these people are obsessing over me. That can’t be a fun way to live (being obsessed with another human you don’t even know). I just want to be left in peace to run my sanctuary with my true friends and family.”

Convictions handed down amid an intensified crackdown by Bahraini authorities on individuals accused of having ties to Tehran.

Bahrain has sentenced nine people to life in prison for carrying out what authorities describe as “hostile and terrorist acts” in cooperation with Iran’s Islamic Revolutionary Guard Corps (IRGC).

Two other defendants were also jailed for three years each after being convicted of collaborating with the IRGC in what prosecutors described as “terrorist and espionage” activities, state media reported on Sunday.

The convictions were handed down during an intensified crackdown by Bahraini authorities on individuals accused of ties to Tehran. The crackdown followed a wave of Iranian strikes on Bahrain after the United States and Israel launched their war on Iran in late February. Iran began striking all of its Gulf neighbours in response, saying it was targeting American interests, including military bases.

Prosecutors said some of the defendants photographed vital and strategic sites in Bahrain on behalf of the IRGC. Others were accused of facilitating the transfer of funds from Iran to Bahrain, including through cryptocurrency transactions, to finance the operations. Authorities also alleged that individuals inside the country were recruited to support some of the plans.

Bahrain began arresting individuals allegedly linked to Iran in March, shortly after the conflict began.

Earlier this month, authorities detained a further 41 people.

Less than two weeks later, more than 60 people were stripped of their citizenship for allegedly supporting Iranian attacks on Bahrain and “colluding with foreign entities”.

The London-based Bahrain Institute for Rights and Democracy described the move as “dangerous” and said it constituted a clear violation of international law.

Other Gulf states have also arrested individuals accused of cooperating with Iran. Last month, the United Arab Emirates said it had dismantled a group allegedly planning to carry out what officials described as “terrorist acts”.

Bahrain is home to a large Shia population. Many of its members have long accused the authorities of political and economic marginalisation. The government denies discriminating against Shia citizens, accusing Iran of fuelling unrest in the country.

Danny Dyer is hosting new ITV quiz show, Nobody’s Fool, with Emily Atack

ITV viewers looking for their next game show need look no further as Danny Dyer’s brand new quiz show, Nobody’s Fool, is starting tonight.

Nobody’s Fool, which is hosted by Danny, 48, and Emily Atack, sees ten contestants take part in the strategic quiz show with a big twist.

In the programme, the fate of the contestants isn’t decided by how smart they are but rather how smart their fellow contestants think they are.

During the quiz show, players must determine who is the weakest amongst them and eliminate them in a brutal twist.

Host Danny said of the new series: “This is a blinder of a game show and unlike anything I’ve seen before.

“Emily and I had a brilliant time making it and much like the audience at home will be, we were kept guessing right until the very end.”

As Danny hosts the new show, as well as currently appearing on hit series Rivals as Freddie Jones, where Emily also stars as Sarah Stratton, let’s take a look at the former EastEnders star’s life off-screen…

Who is Danny’s wife?

Danny and Joanne Mas are childhood sweethearts who first crossed paths when they were just 14 years old. The pair eventually started dating in 1992 and welcomed their first child, Dani, in 1996.

Nevertheless, Danny and Joanne parted ways shortly after their daughter arrived. However, the pair eventually got back together and welcomed second daughter Sunnie Jo in 2007, followed by son Arty in 2014.

Joanne, who had worked as a financial adviser before Danny shot to stardom, popped the question to her now-husband on Valentine’s Day in 2015, in a daring gesture that the actor said he “loved.”

Danny and Joanne exchanged vows in Hampshire in September 2016, surrounded by their nearest and dearest, with the ceremony featured in HELLO! Magazine.

On the day, Danny shared with the publication: “To be standing here with the girl I grew up with – looking so beautiful in her wedding dress – that is a lovely thing. Jo is my best girl – the love of my life. Without her, I would be nothing.”

Who are Danny’s children?

Danny and Joanne’s three children have taken after their father’s celebrated career, with eldest daughter Dani, 29, having established her own path in the limelight. She triumphed on Love Island in 2018 and also recently took part in Celebrity SAS: Who Dares Wins.

Danny and Dani also have their own shows together, including The Dyers’ Caravan Park, Absolutely Dyer: Danny & Dani do Italy, as well as their podcast Live and Let Dyers.

Dani also works as an influencer, having collaborated with brands including InTheStyle. The 29-year-old is mother to son Santiago, whom she shares with former partner Sammy Kimmence, plus twin daughters Star and Summer, with husband Jarrod Bowen. Dani and West Ham United footballer Jarrod, 29, tied the knot in 2025.

Meanwhile, Sunnie, now 19, regularly displays her passion for fashion and travel on social media, much like her elder sister, and has begun attending red carpet events with her renowned dad, including his recent film premieres. She also featured on ITV’s Big Star’s Little Star in 2015.

The youngest of the Dyer family, Arty, 12, has already made his cinematic debut, having appeared alongside Danny in the film Marching Powder last year.

Danny has discussed being a devoted grandfather to Dani’s children, disclosing he cares for the three youngsters when Dani and Jarrod are both away.

Speaking on KISS FM, the EastEnders actor previously said: “Dani’s going to Germany, and so I’ve got all the grandkids. It’ll be hard work trying to watch it with three kids under three in my house, a barking bulldog, a ten-year-old son, and a menopausal wife. Wish me luck, everyone, because that’s a combination that, init.”

Nobody’s Fool launches on Saturday 23 May at 9pm on ITV1 and ITVX.

With almost 750 suspected Ebola cases in the DRC, health measures intensified along the DRC–Uganda border. At the busy Mpondwe crossing near outbreak zones in Beni, authorities deployed health workers and shut weekly border markets, measures that residents say are threatening their livelihoods.

Summer is just around the corner. Get into the spirit of long, lazy days — first, let’s pretend those exist in ample supply beyond our dreams — by spending your Memorial Day weekend taking cues from our watch guide. There are plenty of options to suit your tastes, including a new take on one of cinema’s most iconic monster brides and a retrospective of Martin Short’s high-flying career in comedy, the final season of “Hacks” and another television series that expands the “Star Wars” franchise. No sunscreen is required.

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Recommendations from the film and TV experts at The Times

Christian Bale and Jessie Buckley in a scene from “The Bride.”

(Warner Bros. Pictures)

“The Bride” (HBO Max)

Heavy buzz preceded the arrival of Maggie Gyllenhaal’s feminist reboot of the horror classic “The Bride of Frankenstein” earlier this year. The casting of Christian Bale and Jessie Buckley as Frankenstein’s monster and his companion, respectively, along with Gyllenhaal’s obvious passion for the project, seemed to promise cinematic fireworks. However, it divided critics: Some brutally panned the film, calling it overbearing and ludicrous; others applauded the movie as an ambitious big swing that should not be ignored. And while most agreed that Buckley gave a committed performance as the ferocious Bride, her lead actress Oscar win for “Hamnet” did not save the film from bombing and vanishing quickly from theaters. Viewers can now decide whether it was truly a disaster or just misunderstood when “The Bride” hits HBO Max this weekend. — Greg Braxton

Steve Carell and Charly Clive play a father and daughter navigating their complicated relationship in the HBO comedy “Rooster.”

(Katrina Marcinowski / HBO)

“Rooster” (HBO Max)

If you’re looking for some easy laughs this weekend, and you’re a fan of series from Bill Lawrence like “Shrinking” or “Ted Lasso,” this HBO comedy may be right up your alley. The show follows Greg Russo (Steve Carell), a divorced author of “beach reads” who is offered a position at a university where his daughter, Katie (Charly Clive), teaches. Katie, as much as she loves her dad, also wants some space as she navigates the messy relationship with her husband Archie (Phil Dunster), who has left her for a graduate student named Sunny (Lauren Tsai). (Katie does not take it well.) The show is filled with mishaps and misunderstandings that will make you belly laugh. But what also makes this show special is the supporting cast that absolutely kills it when they’re onscreen, including Danielle Deadwyler as Dylan, an English professor; John C. McGinley as Walter, the school’s president; and Robby Hoffman as Mo, Sunny’s friend and roommate. The series just wrapped its first season — I’m willing to bet you’ll binge this one. — Maira Garcia

Martin Short and Catherine O’Hara in “Marty, Life Is Short.”

(From Netflix)

“Marty, Life Is Short” (Netflix)

This delightful and moving documentary brings into focus Martin Short’s life and decades-long career in comedy. Don’t be fooled by its straightforward overview of Short’s rise to showbiz mainstay through his eccentric, vaudevillian brand of comedy. Directed by his longtime friend Lawrence Kasdan, who first collaborated with the comedian on the 1987 comedy “Cross My Heart,” the film goes beyond the bullet points, offering intimate insights about the lows of building a career and a touching look at him as a friend and family man. In addition to hearing directly from Short, the film features soundbites from people who know him well, including Andrea Martin, Tom Hanks, Steven Spielberg, Steve Martin, Eugene Levy and the late Catherine O’Hara. But the true standout moments come from the home footage provided by Short. It’ll leave you longing for a whole docu-series of his star-studded gatherings with some of the names mentioned above. What do you mean we get to see Short and Hanks, both shirtless on a boat, re-enact a scene from “Butch Cassidy and the Sundance Kid” — in this scenario, Hanks’ Forrest Gump is the Sundance Kid and Short’s famous sketch-comedy character Ed Grimley is Butch — as they hurl themselves into the sea? That beats any reality TV moment or DIML vlog on TikTok I’ve seen this year. — Yvonne Villarreal

A scene from Cartoon Network’s “Adventure Time,” featuring Finn the Human, voiced by Jeremy Shada, and Jake the Dog, voiced by John DiMaggio.

(Cartoon Network)

“Adventure Time” (Hulu, Disney+)

With the new “Adventure Time: Side Trips” due on Hulu and Disney+ on June 29, I am watching Pendleton Ward’s original series from the beginning, the better to appreciate its deep world-building and pick up whatever I might have missed the first time. Set in a lush, lively post-apocalyptic world where human boy Finn and shape-shifting dog Jake fight villains and party with friends, it’s gorgeously strange, beautifully designed and full of feeling. Characters include a pie-baking little elephant; Lady Rainicorn, half-unicorn, half-rainbow; a sort of sentient Game Boy; a vampire queen; and the Ice King, looking for a princess (Bubblegum, Flame, Lumpy Space, Hot Dog) to love him. A nexus of creative young animators, it’s the trunk of a tree whose branches include “Summer Camp Island,” “Steven Universe,” “Over the Garden Wall,” and “OK K.O.: Let’s Be Heroes,” which is to say, it’s possibly the most important cartoon show of the 21st century. At 283 episodes, there’s more than one can consume over even a holiday weekend, obviously, but you have to start somewhere. — Robert Lloyd

Clarke Peters, Alfre Woodard, Alfred Molina, Denis O’Hare and Geena Davis in “The Boroughs.”

(Netflix)

“The Boroughs” (Netflix)

In an isolated but fairly posh desert retirement community, freaky things are afoot. Strangely, no one seems to notice until cranky, grieving widower Sam (Alfred Molina) moves in. He hates the Boroughs at first sight and is only there because his now-dead wife signed them up in an apparently unbreakable contract. So of course he’s going to complain about every problem, from a broken door knob to, you know, a mysteriously dead neighbor. And before you can say, “The Thursday Murder Club” meets “Stranger Things” by way of “Scooby-Doo,” he’s reluctantly assembled a group of equally curious residents played by equally high-wattage actors including Geena Davis, Alfre Woodard, Clarke Peters and Denis O’Hare — all of whom make the Boroughs, and “The Boroughs,” well worth the price of admission, be it during nocturnal visits by monsters or an occasionally creaking plot.

Though still a criminally underrepresented demographic, aging boomers are having something of a moment on TV (see also “Only Murders in the Building,” “A Man on the Inside” and “Hacks”) and “The Boroughs,” (produced by the Duffer Brothers, who gave us “Stranger Things”) is a perfect example of why. The message of every unlikely-hero story is inevitably one of empowerment — kids/hobbits/retirees are just as capable of saving the day as muscle-bound men in their prime — and actors as strong and experienced as these can glide over plot holes and shoulder three times their weight in disbelief suspension without breaking a sweat. Getting the opportunity to watch such a group do it together is just as much fun as figuring out exactly what is going on at the Boroughs and who’s going to stop it. — Mary McNamara

A scene from Lucasfilm’s “Star Wars: Maul — Shadow Lord.”

(Lucasfilm Ltd.)

“Star Wars: Maul — Shadow Lord” (Disney+)

“The Mandalorian and Grogu” is the shiny new “Star Wars” movie in theaters this weekend — the franchise’s first since 2019 — but let’s not forget that some of the galaxy far, far away’s best storytelling in recent years has been on TV. “Star Wars: Maul — Shadow Lord” follows the dark side warrior in the early days of the Empire’s reign as he works to rebuild his criminal syndicate while getting some revenge on gangsters that have betrayed him. Introduced and presumed dead after being cut in half in a lightsaber duel in “Episode I,” Maul’s resilience and dark ambitions were further explored in “The Clone Wars.” Maul is a formidable, manipulative, intelligent and vicious villain that’s ultimately doomed to fail, but there’s something about his relentless refusal to accept his fate that I find a bit admirable — even if he’s evil. A noir crime thriller, “Maul — Shadow Lord” is set in a gritty, metropolitan planet outside of the rule of the Empire, meaning, yes, the former Sith lord will cross paths with some Jedi on the run. There’s no better way to close out May than getting immersed in “Star Wars.” — Tracy Brown

Jean Smart and Hannah Einbinder in the fifth and final season of “Hacks.”

(HBO)

“Hacks” (HBO Max)

With the series finale of “Hacks” approaching on May 28, it’s the perfect time to catch up on Ava (Hannah Einbinder) and Deborah’s (Jean Smart) latest schemes. Season 5 follows Deborah clawing her way back into public favor after her short stint as a late-night host. Going out with a bang, the show’s final season has been chock-full of guest stars, from Trisha Paytas and Tony Kushner to Jesse McCartney and “Property Brothers” duo Drew and Jonathan Scott. The dynamic between Deborah’s managers, Jimmy (Paul W. Downs) and Kayla (Megan Stalter), is still ridiculously entertaining, even if Kayla still can’t get Jimmy’s coffee order right. Across the characters, the chemistry is palpable as “Hacks” builds to the pièce de résistance of Deborah’s career: a sold-out show at Madison Square Garden. — Katie Simons

Animated characters from the Crunchyroll series “Classroom of the Elite.”

“Classroom of the Elite” (Crunchyroll)

The anime series revolves around Kiyotaka Ayanokoji, a stoic high schooler with a hidden brilliant mind who enrolls in an isolated boarding school. In this cutthroat school, designed as a meritocracy to identify Japan’s future leaders, students are pushed through unconventional tests — such as a survival challenge on a deserted island — and they risk expulsion if they fail. Bribery and backdoor deals run rampant. School officials turn a blind eye to violence — and there is plenty of it.

The show follows Ayanokoji and his classmates as they scheme to climb from the lowest tier, D-Class, to the coveted A-Class. Along the way, it invites the question of whether an archetypal meritocracy can truly exist in a system ridden with loopholes. The calculating Ayanokoji can be a hard protagonist to root for, as he brazenly uses his peers as pawns. By the end of the third season, we see Ayanokoji begin to occasionally open up to a select few classmates, though we’re constantly left to wonder if those moments are genuine or engineered. Season 4, which premiered in early April with weekly releases, picks up with Ayanokoji in his second year and brings a new slate of characters with murky motivations. — Iris Kwok

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What do we have here? Some of my very favorite actors — Alfred Molina, Alfre Woodard, Clarke Peters and Geena Davis — starring in an eight-episode, B-grade sci-fi comedy-drama, “The Boroughs,” now streaming on Netflix.

Molina plays Sam Cooper, a retired engineer — that will be important — being brought grumbling to the Boroughs, a posh, city-sized retirement community plopped down in the middle of the Southwestern desert. Sam’s late wife, Lily (Jane Kaczmarek, in flashbacks and dreams), had planned the move, but she died suddenly, while they were dancing to Bruce Springsteen’s “Thunder Road,” which will become a kind of trigger and motif going forth. Still, fate — in the form of daughter Claire (Jena Malone) and son-in-law Neil (Rafael Casal) — has pushed him solo to the Boroughs and a house on a cul-de-sac. (Seen from above, the town is laid out in a series of concentric circles, as EPCOT was meant to be when Walt Disney was alive and it stood for Experimental Prototype Community of Tomorrow. That has no relation to this show; I’m just throwing it out to the fans.)

Before this happens, however, we get a preamble. Is that Dee Wallace, the mother from “E.T.: The Extraterrestrial,” as Grace, a former occupant of Sam’s new home? (Why, yes it is.) Grabbed one night by something clearly not human, she’ll leave the show before the first credit rolls; but we’ll know from the start that there’s a monster on the loose. And even before Sam has settled in, he’ll be attacked by her now-widowed husband, Edward (Ed Begley Jr.), who has escaped to his old house from the Manor — a memory care unit more reminiscent of something out of “Squid Game” than anywhere you’d want to park a beloved fading parent — muttering “The key is in the light, the owl is in the wall,” and thereby turning Sam detective.

The joint is run by young Blaine Shaw (Seth Numrich), who supposedly took it over from his father, who took it over from his father before him, with Hollywood-blond wife Anneliese (Alice Kremelberg) by his side. (It is perhaps no accident that we’re also served a background clip from “Double Indemnity,” featuring a blond Barbara Stanwyck.) They radiate a kind of vampiric smoothness, and it will take you no longer to realize that something’s up with these two than it takes to say “Something’s up with these two.”

Mired in grief, Sam is initially reluctant to interact with his new neighbors, until former weatherman Jack (Bill Pullman) breaks down his defenses. Judy Daniels (Woodard) used to be a reporter, her husband Art (Peters) is a pot-smoking old hippie who pretends to go golfing but heads off to a ghost town where he grows mushrooms, “searching for proof that there’s more to life than just knockin’ about and hangin’ out.” Wally Baker (Denis O’Hare) used to be a doctor, but now needs one. (It’s cancer, and terminal, though it doesn’t show.) They have complicated relationships, but there’s nothing better for ironing things out than creeping together through dark tunnels by flashlight, hoping that nothing jumps out at you, engaging in weightless banter as you go.

Davis plays Renee Joyce, a former music manager who came to the Boroughs to stay with her mother after Renee’s husband stole her money, and stuck around; I think she’s meant to be younger than the rest, but if you want to look up Davis’ age, I will wait here while you gasp in astonishment. She’ll hook up with friendly young security guard Paz Navarro (Carlos Miranda); he played drums in a band once, and they were both at Glastonbury in 2010 and love Barbra Streisand. (What are the odds?) He’ll have a lot to do when a Scooby Gang — that old, invaluable, incredibly satisfying trope — finally comes together.

The series was created by Jeffrey Addiss and Will Matthews, who were co-writers on the 2018 Henson Co. puppet epic “The Dark Crystal: Age of Resistance,” from which they have imported a central plot device regarding vital essences and a magical matriarchal figure. (Called “Mother” there and here.) Their 2020 dying girlfriend film “Life in a Year,” directed by Mitja Okorn, has some thematic mirroring here, as well — death hovers over the story — and it seems probable that somewhere in the series’ gestation, they discussed Ron Howard’s 1985 science-fiction flick “Cocoon,” with its retirement home setting and senior-citizen heroes.

Sewn together from these and other scraps of previous paranormal adventure stories, “The Boroughs” is almost entirely predictable — not a criticism, in this context, since surprises in such a story are liable to bring bad news, and our affection for its heroes ought not to be sacrificed in the name of dramatic effect. That is not the kind of sacrifice the age needs, and this is not that kind of series. Nor is B-grade a pejorative, but rather an honorable tradition, especially when it comes to sci-fi and horror. (We’ll get a glimpse of Roger Corman’s original “Little Shop of Horrors” playing on a TV — cathode ray, of course.) Once you get on its wavering wavelength — sentimental, sincere, sweet, a little silly, not overly concerned with making perfect sense — and realize the show is not out to hurt you, it’s a very enjoyable watch.

Quinta Brunson is taking a bet on Betty Boop.

The two-time Emmy winner is developing a film about the animated icon and will star as the doe-eyed flapper, The Times confirmed on Wednesday. The “Abbott Elementary” star and creator’s production company Fifth Chance Productions will team with cartoonist Max Fleischer’s grandson Mark Fleischer and their Fleischer Studios for the film. Variety first reported the news.

Brunson, in a news release shared with The Times, praised Betty Boop as one of the nation’s “most beloved cartoon characters” and said she realized “there was a much deeper story to tell” after she and Fifth Chance head of creative affairs Erin Wehrenberg met with the younger Fleischer. According to the release, the movie will chronicle the cartoon character’s origin and evolution through Max Fleischer’s perspective and will examine the “relationship between the artist and his creation as he navigates the creative and commercial pressures of building one of the world’s first animated icons, particularly as that icon begins to take on a life of its own.”

Betty Boop, designed by late cartoonist Myron (Grim) Natwick, first appeared in Max and Dave Fleischer‘s 1930 cartoon “Dizzy Dishes” as part of Fleischer Studio’s “Talkartoons” series. The Fleischer brothers asked Natwick to draft up a woman character for the popular song by Helen Kane, “Boop-Boop-A-Doop.” Natwick initially designed Betty as a dog’s head on the curvaceous figure of a woman and modeled her flapper hairdo on Kane’s own coif. As Betty Boop became more popular, Natwick revised his design to swap the character’s floppy dog’s ears for bangle earrings and shrinking her nose. Her curvaceous figure, flapper ‘do and large eyes remained.

Mae Questel, who provided the loopy, child-like voice of cartoon characters Betty Boop and Olive Oyl, poses in 1978 with a poster of Betty Boop.

(Associated Press)

Kane unsuccessfully sued Fleischer Studios and Paramount in 1932, alleging Betty Boop ripped off her voice, likeness and scat-singing. The performing community challenged that notion, tracing the scat-singing and gesticulations to earlier artists including Black jazz performer Baby Esther Jones and cabaret entertainer Florence Mills. The judge who oversaw the legal battle ruled against Kane.

Betty Boop was primarily featured in theatrical cartoons from 1930 to 1939 — voiced by Mae Questel — but her sex symbol status and general fabulousness made her an intergenerational icon. Earlier this year, the preliminary design of Betty Boop featured in “Dizzy Dishes” entered public domain.

“Quinta so embodies Betty’s love of life, intelligence, humor, sassiness and compassion that the relationship between her as Betty and Max burst into life at its mere mention,” Mark Fleischer said in a news release.

Brunson, though best known for the ABC comedy “Abbott Elementary,” first gained popularity in the 2010s for her viral social media comedy clips and her work on Buzzfeed. She appeared on TV series “A Black Lady Sketch Show” and “iZombie” before “Abbott Elementary,” about a group of educators at an underfunded Philadelphia elementary school, became a breakout hit in 2021.

“Abbott Elementary” has collected four Emmy Awards and was renewed in March for its sixth season at ABC.

VENEZUELA Fury may have just bagged a £5million wedding gift from her Gypsy King dad Tyson – but the teenager’s first marital home is a far cry from the millionaire lifestyle she grew up in.

The Fury dynasty toasted the teenager’s lavish wedding, which included Peter Andre performances, towering cakes, and a dress with a 50ft train, this weekend. But now, the 16-year-old bride and new husband Noah Price, 19, have moved into a £46,995 static caravan that had been sitting unsold for months – after furious buyers blasted the company’s homes as “absolute s**t”.

And in true Fury fashion, the story behind their first home together is every bit as dramatic as the wedding itself.

The young couple snapped up the two-bedroom caravan, named Manor House, exactly as it stood on the forecourt of East Yorkshire firm Carabuild – with no bespoke upgrades, luxury add-ons or personalised touches.

At 42ft long and 14ft wide, the caravan spans 588 square feet – roughly the same size as a large London studio flat.

That means Venezuela, who has spent her entire life surrounded by unimaginable luxury, is swapping Tyson and Paris Fury’s jaw-dropping £8million mansion for a static home that is 21 TIMES smaller.

Tyson’s sprawling estate stretches across 12,286 square feet, sits on historic land over 200 years old and boasts all the lavish trappings you’d expect from one of Britain’s richest sporting dynasties.

Yet now his eldest daughter is embracing traditional traveller life with husband Noah – and it seems the pair are doing it the old-fashioned way.

A source previously told The Sun: “Venezuela wants to start her married life in the traditional style of a traveller, just like her parents did.

“She has lived in luxury since she was born, but is willing to swap her home comforts to go and live in a static caravan.”

The source added: “She thinks it did her parents no harm and is looking forward to taking care of all the domestics while Noah goes out to work. Her parents approve.”

And it seems Venezuela took that traditional vision very seriously.

Because the caravan itself had been sitting unsold for months before Venezuela and Noah bought it.

Carabuild, which describes itself as a “bespoke manufacturer of luxury static caravans and lodges”, first advertised the home back in January with an asking price of £46,995.

By February, it still hadn’t shifted.

The firm posted another sales video online showing off the caravan’s “oak exterior” and “cream and gold” interior while urging potential buyers to get in touch.

Then in March came what insiders described as an increasingly desperate push to finally get rid of it.

In a social media plea, the company wrote: “Springtime offer. Be in this home for Easter. Available right now from stock. No waiting, no travelling, no stress.”

But while the videos attempted to paint a picture of luxury traveller living, furious online reviews underneath told a different story.

One furious customer blasted: “Stay well clear of this man Zane from Carabuild.

“Once he has your deposit, you never see him again.

“The homes are absolutely sh*t flat packs.”

The disgruntled reviewer continued: “Cheap made kitchen, cheapest of the cheapest, trust me, I am not joking.

“Please stay away from this company.”

Others accused the firm of poor insulation, broken radiators and “paper-thin walls”.

One scathing Google review read: “If I could give lower than one star, I would.”

Another raged: “Don’t give them a pound.”

Despite the controversy surrounding the company, Venezuela and Noah still chose the static home as the place they would begin married life together.

Carabuild proudly revealed the newlyweds had bought the home.

Sharing a video of the caravan to their Facebook page, the company wrote: “Congratulations to the new Mr and Mrs Price.

“We had the pleasure of designing and building Venezuela Fury and Noah Price’s very first marital home.”

It marks the latest chapter in what has become one of the most talked-about celebrity weddings of the year.

Venezuela – the eldest daughter of boxing superstar Tyson Fury and wife Paris – married Noah in a lavish traveller wedding on the Isle of Man earlier this month.

The wedding itself was pure Fury extravagance.

There were 20,000 flowers, a towering 12ft wedding cake, 18 bridesmaids, vintage cream wedding cars and a surprise performance from Peter Andre.

Venezuela wore a dramatic fishtail gown imported from Italy, complete with a staggering 50ft train – paired, brilliantly, with white Crocs.

Netflix cameras filmed the entire thing for the family’s hit reality series At Home With The Furys.

Tyson, emotional throughout the day, called himself a “big softie” as he walked his daughter down the aisle before later joking in his speech: “I told you – you shouldn’t have done it!”

And despite the glitz, glamour and eye-watering spending, the newlyweds appear determined to keep one foot firmly planted in traditional traveller culture.

The young couple will settle in East Yorkshire once they return from their lavish £30,000 honeymoon in Marbella – another gift paid for by Tyson and Paris.

And the honeymoon wasn’t the only present the pair received.

Tyson also gifted the newlyweds a traditional gypsy wagon as a sentimental nod to their roots.

Meanwhile, some family members were said to be stunned after Tyson and Paris reportedly handed the young couple £5million to help kickstart their married life.

“Some family members thought it was a lot of money for a young couple,” one insider told The Sun.

“But it’s up to Tyson and Paris.”

For now, though, despite the millions, the honeymoon and the reality TV cameras, Venezuela and Noah are preparing to start married life in the very caravan that buyers warned people to avoid.

Petr Vlachovsky, ⁠a Czech women’s football club coach who filmed players in changing rooms, has been banned for life.

European football’s governing body says it has issued a lifetime ban ⁠to Petr Vlachovsky, ⁠a Czech women’s football coach who secretly filmed his players.

In a statement issued on Tuesday, UEFA’s Control, Ethics and Disciplinary Body (CEDB) said it had decided to ban Vlachovsky “from exercising any football-related activity for life” following an investigation into allegations of potential misconduct.

“The CEDB further decided to request FIFA to extend the abovementioned ban on a worldwide level and to order the Football Association of the Czech Republic to revoke Mr Petr Vlachovsky’s coaching licence,” the statement added.

Czech media reported that the coach was convicted in ⁠May 2025 and initially received a suspended one-year prison sentence and a five-year domestic coaching ban for filming FC Slovacko’s players in changing rooms, the youngest of ⁠whom was 17. According to the indictment cited by the Czech media, Vlachovsky confessed and expressed regret.

Vlachovsky had also previously served as coach of the Czech women’s Under-19 team.

“This is a deeply serious and distressing matter which came to light ⁠in 2023 and had a significant impact on our club, ⁠and above all on the players affected,” a spokesperson for FC Slovacko told the Reuters news agency.

“From the moment we became aware of the allegations, the club acted immediately, terminated its cooperation with the former coach, and ⁠cooperated with the relevant authorities.

“Throughout this process, the club has regarded itself as an injured party and has treated the ⁠matter with the utmost seriousness, sensitivity and respect for ⁠those affected.”

Football players’ union FIFPRO welcomed the ban as well as UEFA’s request for world football governing body FIFA to impose an international ban on Vlachovsky.

“This outcome sends a strong and necessary message that abusive and inappropriate behaviour has no place in football and ‌that ‌safeguarding the wellbeing of players must remain a priority at every level of the game,” FIFPRO added in a statement.

Long before Billie Jean King won dozens of Grand Slam tennis titles, founded the Women’s Tennis Assn., became part owner of the Dodgers and was awarded the Presidential Medal of Freedom, she enrolled in what was then called Los Angeles State College.

Three years later in 1964, King left without a degree to devote full attention to her burgeoning tennis career.

Failing to earn the degree bothered her, and King would correct anyone who said she had graduated.

“I said, ‘Don’t ever say ‘graduated.’ I haven’t earned it — yet,’” she said.

“Yet” became a reality Monday when King, 82, received her bachelor’s degree in history from the same school she attended more than 60 years ago — now called Cal State Los Angeles — walking across the Shrine Auditorium stage with the rest of the Class of 2026.

King also served as a commencement speaker, telling the roughly 6,000 fellow graduates, “It is a privilege for me to be here.

“Yeah, baby, only 61 years!”

King mentioned that “like many of you,” no one in her immediate family had graduated from college.

She noted that her lifelong fight against discrimination began when she realized at age 12 that nearly everyone at tennis clubs was white.

“I asked myself, ‘Where is everybody else?’” King said. “From that day forward, I committed my life to equality and inclusion for all. Tennis is a global sport and it became my platform, but equality was my dream — to make the world a better place.”

“We can never understand inclusion unless we’ve been excluded.”

Known then as Billie Jean Moffitt, she chose Los Angeles State because tennis coach Scotty Deeds trained men and women together. She soon became an international star, winning a Wimbledon doubles championship at 18 with Karen Hantze, who was only 17.

She married her college sweetheart Larry King in 1965 and they divorced in 1987. Afterward, King and Ilana Kloss, an accomplished tennis player in her own right, were a couple for decades before marrying in 2018 in a secret ceremony in the apartment of former New York City Mayor David Dinkins.

“You’re finding your truth, and it doesn’t have to stay the same,” King told People magazine at the time. “I only liked guys when I was young. I didn’t think about girls. And then all of a sudden I’m like, ‘Oh my God, what’s happening?’ My truth was changing over time. It took me forever.”

King became a trailblazer for LGBTQ+ and women’s civil rights and was awarded the Presidential Medal of Freedom in 2009 in part for her advocacy for equality. King and Kloss co-founded the Billie Jean King Leadership Initiative to promote inclusive workplaces and gender equality.

Shortly after they married, King and Kloss became part owners of the Dodgers and the Sparks, acquiring undisclosed minority stakes in the franchises through an invitation from controlling owner Mark Walter.

“We believe all professions, and professional sports, need to be more inclusive and equitable,’’ Walter said at the time. “It’s going to be wonderful to have a role model like her in both clubhouses from time to time.’’

King returned to Cal State L.A. in the 2025 spring semester. She also earned course credit for her interaction with fellow students enrolled through the university’s Prison Graduation Initiative.

“They have made a commitment to improving their lives through education,” she said, and “getting their degree will be life-changing for them.”

King now knows the feeling firsthand. At the graduation ceremony on Monday, she wore a gold stole embroidered with a multicolored tennis racket and the letters G.O.A.T — greatest of all time.

“It means a lot more to me than I thought,” she told reporters. “I am so glad I did it. My hope is that one other person will go back to school.

“It’s never too late, whatever age you are, whatever your abilities are, go for it if you want it.”

The Associated Press contributed to this report.

Married At First Sight Australia’s Bec Zacharia has broken her silence after finding herself at the centre of a bridal dress hire dispute

A Married At First Sight bride has spoken out following a social media storm that left her facing a torrent of “abuse”.

Married At First Sight Australia has wrapped up its dramatic finale, with fans now switching their attention to the USA edition, airing weekdays on E4 at 8pm.

The fresh American series has been branded “more toxic” than the Australian original, though audiences won’t soon forget the explosive Aussie season packed with bitter rows and numerous departures.

Now, Bec Zacharia finds herself caught up in fresh controversy after a social media incident which she claims has taken a serious toll on her wellbeing, leaving her subjected to “abuse”.

Bec’s time on the programme attracted widespread criticism for her on-screen conduct during what proved to be a chaotic series, reports OK!.

The bride was left heartbroken at Final Vows, admitting she felt blindsided by her on-screen husband Danny, having previously declared her love for him.

Since leaving MAFS behind, Bec has been piecing her life back together, dealing with the fallout from her behaviour and enduring online backlash. However, she’s now become entangled in further controversy, even after the show’s conclusion.

According to the Tab, the recent drama erupted when Bec revealed she’d splashed out nearly $20k on MAFS, explaining she did not rent outfits.

Shortly after the podcast went live, her remarks sparked backlash from the owner of bridal gown hire firm RESRVD, who alleged Bec had utilised their services for a Final Vows outfit in return for publicity.

Rather than the promised repeated promotion, Bec allegedly tagged the brand only on her burner account. RESRVD’s owner Savannah vented online: “There’s small businesses behind these television shows and the brides that are wearing them and it is incredibly disappointing when a small business is not given the recognition that they are promised.”

Following the allegations circulating online, Bec revealed she’s been inundated with abuse, telling Daily Mail Australia her business Instagram account has been removed. She explained: “This is my only form of income, and that has now been taken away from me.

“I am a small business now. All of the deals that I’ve got going on rely on me having my Instagram, and the hate that I’m getting every five minutes, I’m getting abuse.”

She subsequently confessed: “I wish there had been communication where she could have told me her grievances… I would have done everything to fix that for her.

“I’m not an influencer. I’m just a normal girl. I thought what I had done was satisfactory.”

Bec revealed Final Vows and the gown were “triggering” for her, considering the heartache she endured after being dumped by Danny.

Chatting to news.com.au, Bec described it as an “honest mistake”, saying: “My life is crumbled, and I can’t get away from abuse.”

Married At First Sight can be streamed on Channel 4 online.

On the second weekend of May, Gustavo Dudamel gave the New York Philharmonic a salsa shock. He gleefully brought the startled players together with the Spanish Harlem Orchestra, an uptown salsa and jazz band, for concerts at Lincoln Center and Washington Heights. The city‘s classical music fans treated it as a cultural breakthrough; Dudamel is expected to transform the orchestra as a cultural institution when he returns in the fall as its music and artistic director.

A day later he was back in Los Angeles to begin rehearsals at a Walt Disney Concert Hall that had been fantastically transformed by Frank Gehry for the Los Angeles Philharmonic’s staging of “Die Walküre.” Transformation — be it cultural, orchestral, personal — has marked Dudamel’s 17 years as music (and more recently artistic) director of the L.A. Phil, which is now coming to an end with his three weeks of concerts in Disney to close the season June 7, followed by a celebratory weekend at the Hollywood Bowl in late August.

But meeting with Dudamel in his dressing room after a “Walküre” rehearsal (the opera begins Tuesday night at Disney and runs for six nights, an act a night, the full opera performed twice) , he says as he has said before, he does not think of this as a culmination, merely the beginning of a new adventure. He’s apartment shopping in New York. But he is keeping his house in Los Angeles.

He’s also departing with two very long new titles as “Die Walküre” premieres: the Diane and M. David Paul Artistic Cultural Laureate of the L.A. Phil and Jane and Michael Eisner Founding Director and Conductor Laureate of Youth Orchestra Los Angeles (YOLA).

Gustavo Dudamel conducts the Los Angeles Philharmonic in a performance of Beethoven’s Missa Solemnis at the Walt Disney Concert Hall on Feb. 22.

(David Butow / For The Times)

“We are talking about projects,” he says. “Look, I’m coming back for two weeks in December,” when he will lead Beethoven programs. He returns in the spring. The Bowl will always be a second home.

“I’m living here and I’m not living here,” he explains. “The connection will always be here.”

The energy in New York is, he continues, “super exciting.” And what excites him the most is how comfortable he feels with the very real differences between L.A. and New York.

“As a Latino from Venezuela,” he says, “I have an immediate connection with the New York that is home of salsa. When I was in the womb I was hearing salsa.” His father, Oscar Dudamel, is a trombonist and salsa musician.

But he adds that mariachi, ubiquitous in Mexico and L.A., is also an integral part of Venezuelan culture. “What I have to say is that I am blessed. I’m blessed that both cities are now part of my life.”

Bringing ‘crazy’ ideas to Los Angeles

L.A., of course, has been the major part of his adult life. At 24, an unknown, he made his dazzling U.S. debut in 2005 leading the L.A. Phil at the Hollywood Bowl. Four years later, he became the orchestra’s music director and caught the world’s attention.

There is no doubt that Dudamel’s extraordinary talents would have meant a major career wherever he landed. But, here, he inherited the world’s most culturally open major orchestra, where fresh thinking and new music thrive. Disney Hall allowed him the extraordinary freedom to dream. Being back at Disney, Dudamel admits, is very emotional, especially conducting “Walküre” with Gehry’s sets of billowy, sumptuous clouds and fanciful white papery horses.

“Frank is here with us,” Dudamel exclaims about the architect, who died in December and with whom he had become close. Conducting Wagner’s opera, in many ways, sums up Dudamel’s ambitions, the way he has connected with more sides of L.A.’s cultural landscape than possibly any other artist.

In L.A., Dudamel grew as an artist and a person, he says, through his relationship with an orchestra that is uniquely flexible and a welcoming community. This allowed Dudamel to be what he likes to call “crazy.”

“I remember the first time I came here. I didn’t have a chance to do or see anything,” he says of his Bowl debut. “So, I remember driving from the airport to Sunset Boulevard, where my hotel was, and I didn’t understand anything. But immediately it was the connection with the orchestra.”

Frank Gehry designed the sets for a Jan. 18, 2024, performance of Wagner’s opera, “Das Rheingold,” with Gustavo Dudamel leading the Los Angeles Philharmonic at Walt Disney Concert Hall.

(Allen J. Schaben / Los Angeles Times)

Flash forward 20 years from 2005 to 2025. In what seemed like a truly crazy idea, he brought the L.A. Phil to the Coachella Valley Music and Arts Festival, where he led a varied set of classical favorites and appearances with pop stars, for 150,000 people shouting “L.A. Phil! L.A Phil.” Among the highlights was “Ride of the Valkyries,” the English title of “Walküre.”

The symbolism of doing “Walküre” is, for Dudamel, unmistakable. Wagner’s four-part “Ring” cycle, of which “Die Walküre” is the second opera, strongly influenced the “Star Wars” films Dudamel grew up with. The saga’s composer John Williams is another L.A. legend who became for Dudamel like family. Williams has, in fact, written a fanfare, “Bravo Gustavo!” that Dudamel will premiere on June 4 in a concert in which he celebrates the musicians of the L.A. Phil.

The “Walküre” production, moreover, further expresses his desire to remain connected with L.A. When asked whether he still plans to complete the “Ring” cycle with the L.A. Phil, which he began two seasons ago with “Das Rheingold,” he says, “completely.”

It’s a radical notion, to say nothing of an extraordinarily expensive and time-consuming challenge for any orchestra given to a former music director, but Dudamel has never been one to take no for an answer. “At my last conversation with Frank,” he recalls, “I said I was coming to talk about ‘Siegfried’ [the next opera in the cycle], and he said, ‘You are crazy.’”

“That was Frank. He freaked out about the operas every time I talked to him about them. And then he came up with fabulous ideas.

“You know I never dreamed about coming to the L.A. Phil. I was happy in Venezuela and guest conducting elsewhere. But when I met Frank and John [Williams], I knew I had come to the right place.”

One reason Dudamel was happy in Venezuela was his position as music director of the Simón Bolívar Youth Orchestra, part of El Sistema, the country’s famed music education program. He brought a version of that to Los Angeles with YOLA, which offers free musical education to students. Bringing young people together to learn — and not just to play music but to listen to each other — has grown increasingly essential to him.

Gustavo Dudamel has fun with John Williams at the Hollywood Bowl as he conducts the L.A. Phil during “Maestro of the Movies: John Williams with the LA Phil” on July 9, 2023.

(Emil Ravelo / For The Times)

On Thursday evening, USC awarded Dudamel an honorary doctorate during its graduation ceremonies at the Coliseum, where Dudamel also gave the commencement speech.

“I will never tire of repeating this: music, art and beauty are universal rights,” he told the graduates, urging them to go out into the world listening to others, seeing others, paying attention to everything. These are the practices he has long championed as the essential need for youth orchestras.

This was, in fact, almost precisely what he said when he first arrived in L.A. “I was very young, but I grew up with these ideas,” he told me.

“You have to say to the students, ‘Stop! Let’s pause. Just listen.’”

“It’s a way to really connect with what surrounds you, but also connect with yourself. That’s the beauty of all the layers of listening we do as musicians. I now think that is our main tool. In the end it’s not listening only to sounds. It’s listening as connecting with others.”

Practicing what he preaches

As Dudamel plans for his next chapter, he indicates that the advice he gives students is what he is also saying to himself.

YOLA students perform on stage during a “Gracias Gustavo Community Block Party” at the Judith and Thomas L. Beckmen YOLA Center in Inglewood on Oct. 11, 2025.

(Etienne Laurent / For The Times)

What L.A. gave him, he concludes, is a greater depth of his own listening. There was the guidance of Deborah Borda, who, as the orchestra’s president and CEO, hired and mentored him. There were the opera productions with Peter Sellars, who made him look deeply inside himself. There were the communities to discover and with which to collaborate.

New York, he insists, will be a further continuation of this process. “There are a lot of things to do. As I did here, that will be not only conducting but spending a big amount of time doing other things. I will have to listen to the community. Every place is different.”

And every place needs to be, for Dudamel, connected. He began his last season in Disney in the fall with the world premiere of Ellen Reid’s “Earth Between Oceans,” a bicoastal co-commission between the L.A. Phil and the New York Philharmonic, sonically evoking the environmental difference between L.A. and New York. He recently repeated it with his new orchestra in David Geffen Hall in New York.

In L.A., Reid’s score felt like a vast, moving, spiritual soundscape of our fires’ fury as well as our coastal fancy. At Geffen, it became a gripping showpiece, like attempting to zoom in a Ferrari through Manhattan streets, were they ever empty — the thrill of taking it all in.

Dudamel says his favorite place in New York so far is the orchestra’s archives. Becoming absorbed in the history of America’s oldest orchestra gives him new ideas. He wants simultaneously the old, the new and the many.

He also insists on ever more connections. ”We are making, many, many projects together,” he says of the L.A. Phil and the New York Philharmonic. That includes bringing the two orchestras together in a further experiment in listening.

“That‘s very important to me, one of my dreams. And it’s not difficult,” he says. “We have plans and it’s beautiful. We have to do that.”

A physics teacher has shed light on the hidden dangers of inflating your life jacket inside an aircraft cabin during an emergency – it could have deadly consequences

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