Dolly Parton’s death has left the music, film and television worlds reeling, with stars and luminaries across those industries and more paying tribute to the beloved entertainer’s life and legacy.
Parton, the accomplished country music star who became a national treasure and pop culture icon, died Tuesday at age 80, her nephew Bryan Seaver announced. The singer-actor-philanthropist died after a series of health issues that led her to postpone several performing commitments last year, including a residency in Vegas. She revealed in May that her “immune system and digestive system got all out of whack” in recent years.
The entertainer, an authentic and bright personality whose appearance was made even brighter with bedazzled and fringed ensembles, leaves behind a legacy that includes classics “Jolene” and “I Will Always Love You” (later popularized by powerhouse singer Whitney Houston) that influenced modern country music acts. Her career also included acting, most notably roles in “Steel Magnolias,” “Hannah Montana” and “9 to 5.”
Lily Tomlin, Parton’s co-star on the 1980 comedy “9 to 5,” uploaded a picture of the two to her Instagram profile with the caption: “No words…” along with a broken heart emoji.
Jane Fonda, who also starred in the workplace comedy, posted on Instagram that she was “devastated.”
“I never knew anyone like her. She was simultaneously a naughty, playful southern gal from the hollows of Tennessee and a deep, soulful thinker who could see through people right down to their true selves,” the “Monster-in-Law” star wrote in the caption. “She was the voluptuous embodiment of empathy.”
Country singer and actor Reba McEntire dedicated a heartfelt tribute to Parton on her Instagram account.
“There will never ever be another you. We will remember and cherish every memory and every note you ever played and sang,” she wrote.
The carousel on the post featured various images of the two, who first crossed paths at the Grand Ole Opry’s Opry100 celebration in 1977. Throughout their decades-long friendship, the pair were frequent collaborators; Parton was a guest on McEntire‘s 2001 self-titled sitcom. In 2021, the country stars finally joined forces for their first duet, an acoustic rendition of “Does He Love You” for McEntire’s “Revived Remixed Revisited.”
In an email to The Times, country singer Billy Ray Cyrus recalled the legacy Parton left behind.
“Like every little boy, I grew up loving Dolly Parton. She was a part of our lives, on our TVs, right in our living rooms,” Cyrus wrote.
The two stars developed a close friendship after Cyrus opened for her on tour following his 1992 hit “Achy Breaky Heart.”
“I’ll never forget walking into her dressing room to apologize for all the tabloid stories which claimed I was having an affair with her,” Cyrus added. “In true Dolly fashion, she just looked at me, winked and said, ‘Honey, this trash sells records!’”
Pop starlet Sabrina Carpenter — who reimagined her hit song “Please Please Please” as a country-pop song alongside Parton last year — shared still images of the two in their music video to Instagram.
“I will cherish our laughter and conversations and I will keep your wisdom, your playful outlook on life, and perfect sense of humor in my pocket for the rainy days,” Carpenter wrote in the caption.
Singer-songwriter Sheryl Crow, who shared the stage with Parton in 2025 for a Stand Up to Cancer benefit concert, wrote on her Instagram story: “There is a hole in the universe. There was and will never be anyone like @dollyparton.”
“Dolly Parton had a way of making everyone feel seen,” wrote Kelly Clarkson in an Instagram post, who just yesterday shared a cover that she had done of Parton’s “9 to 5” for the Season 1 premiere of “The Kelly Clarkson Show.”
“I will miss her heart and her voice as I am sure millions will. What an incredible gift and talent she was and still is with an amazing catalogue of art she has left behind for all of us,” the “American Idol” star added to her post.
The late singer later appeared on Season 4 of Clarkson’s talk show, for an impromptu duet of her 1974 song “I Will Always Love You,” a clip that was uploaded to the TV show’s Instagram account hours before Parton’s death was officially announced.
Grammy-winning singer Kacey Musgraves reacted on X (formerly Twitter) to Parton’s death, writing, “the world feels a lot less sparkly all of a sudden.”
The Muppets celebrated Parton on Threads, writing “there will never be another quite like Dolly Parton” and posted photos of the musician sharing the screen with Miss Piggy and Kermit the Frog.
The account for the puppet troupe continued: “She was the ultimate singer, songwriter, actress, performer, and philanthropist. She filled the world with light and we are so grateful for every second we got to spend with her onstage and off.”
Carole King shared on Threads that she was heartbroken by the news. Parton “was an exemplary human being,” she wrote.
The Grand Ole Opry said on Instagram that Parton’s death “will be deeply felt for generations to come” and said the legendary musician “taught us to lead with kindness, generosity, and compassion.”
“One of the most extraordinary musical experiences of my life was recording with her,” said Linda Ronstadt on Instagram. Ronstadt recorded two albums with Parton and Emmylou Harris, 1987’s “Trio” and 1999’s “Trio II.” “The world is a poorer place without her.”
Paul McCartney recalled on Instagram first meeting the star at Grand Ole Opry ahead of her solo career.
“She was so bubbly and full of life it is difficult to take in the news that she passed,” said the Beatles singer, who collaborated with Parton on her rendition of “Let It Be” for her 2023 album, “Rockstar.”
In a post uploaded to Instagram, actor Jamie Lee Curtis upheld Dolly’s bravery, writing that “she was more than they thought she was.”
“The Mandalorian” actor Pedro Pascal posted an image of Parton to his Instagram with a caption that read: “One of one [broken heart]. We must make more.”
“Some people are so extraordinary, their existence feels almost impossible. Dolly was one of those people,” wrote Khloé Kardashian on her Instagram story about the country star, who last year was a guest on her podcast, “Khloé in Wonderland.”
“A once-in-a-lifetime soul. A woman whose light, heart, talent and humanity changed this world forever,” the 42-year-old Kardashian wrote. “To have admired her was a gift.”
United States politicians also chimed in to pay their respects.
President Trump celebrated Parton “one of the greatest Country singers, and far beyond, EVER” on a post to Truth Social and said “this is a true loss for millions of people.” He also announced that he would lower the American flag across the country for a week beginning Tuesday evening.
“Rest in Peace, Dolly!” he continued, “the World loves you.”
On X, former President Obama also underscored Parton’s altruistic legacy, including her donation to Vanderbilt University for coronavirus research in 2020.
“Born in a one-room cabin, she earned 11 Grammys and an Emmy, built a business empire, helped millions of kids learn to read, and — as if that wasn’t enough — helped accelerate the research that led to the Moderna COVID vaccine,” wrote Obama.
In a post on Threads, Vice President Kamala Harris called Parton a “true American icon,” highlighting her work through Imagination Library, a global book-gifting program that sends free books to children ages 5 and under.
DENVER — Dodgers manager Dave Roberts called right fielder Kyle Tucker into the visiting manager’s office at Chase Field a week and a half ago, just to catch up.
Roberts had run into Tucker’s wife Samantha and their 5-month old baby that morning in Arizona. And he saw it as a good time to check in.
“When you start to struggle and you internalize … you find yourself going dark, and that’s a lonely place,” Roberts said Tuesday, before the Dodgers’ 7-6 win against the Rockies. “So I think that for me, trying to proactively pull conversations out of him, talk about life, talk about baseball, it just kind of opens things up, and I think that it’s freeing.
“He’s a cerebral guy by nature, internalizes a lot. But still, for me, he’s with a new ballclub, he’s scuffling, so I want to get that out of him.”
Scuffling is a mild way of describing Tucker’s struggles this season. He described it as the “first time in [his] life” that he’s had a season with so many offensive false starts. After being named an All-Star in each of his previous four seasons, Tucker is on pace for the worst offensive year since his 2018 debut season with the Astros.
On Tuesday, he finally ended his career-high hitless streak at seven games, with a double up the right-field line in the fourth inning (although he grounded out once and struck out twice in his other plate appearances). He’d gone 26 straight at-bats without a hit.
So much about Tucker’s year has been head-scratching.
Take his plate discipline, for example. Traditionally known for his strike-zone control, Tucker’s chase rate has been up this season. But even when he trimmed it to 21.6% in July (not as low as the last two years but even with his 2023 season), his production at the plate didn’t respond accordingly.
One of the biggest mysteries has been his extreme home/road splits. Entering Tuesday, he had a solid .822 OPS on the road and a paltry .558 OPS at Dodger Stadium.
Asked about the contrast earlier this week, he said he didn’t have a theory.
“If I knew, I’d probably have figured it out by now,” he said. “But that’s just kind of how it’s gone.”
Recently, his woes have followed him into the outfield. The day after he failed to reel in a flyball in the right-field corner at Dodger Stadium, he had a far worse drop Monday at Coors Field.
In the seventh inning of the Dodgers’ 11-5 victory against the Rockies, Tucker seemed to camp right under a shallow fly. But as it fell, he twisted and put one knee down before dropping the ball.
“There’s indecision, and catching a baseball at your ankles kind of speaks to where his head is at right now,” Roberts said. “It’s not from lack of effort, or care. It’s just right now, I think he’s kind of fighting. So we’ve got to keep supporting him.”
Tucker isn’t the only player who’s struggling. Mookie Betts has been hot and cold at the plate. Teoscar Hernández hasn’t been slugging the way he’s accustomed to. And before arriving in Colorado, the team was in a collective slump.
Tucker, however, is in the first year of a four-year, $240-million contract. And so far the Dodgers haven’t seen the version of him that elevated the Cubs’ offense in the first half of last year and was a steady part of the Astros’ lineup during a run of sustained success.
“Whether it’s my first year or 10th year with a team, I think it’d be frustrating regardless,” Tucker said. “But it’s not like I’m frustrated just because I’m playing at home or anything. Whether it’s on the road or at home, it would be frustrating, just not helping the team win games.”
He slid into his most recent slump during the Dodgers’ last homestand, but the Colorado altitude didn’t immediately work its magic when the team went back on the road.
During Monday’s SNLA broadcast, analyst Eric Karros suggested sending Tucker to Arizona for a reset.
The less extreme version would be sitting Tucker for several games in a row.
“I’m not at the point where it’s like a three-day, three-game reset situation, something like that,” Roberts said Tuesday afternoon.
He did, however, give Tucker a day off Saturday, saying he saw Tucker’s frustration as he continued to struggle offensively at Dodger Stadium. And Tuesday, he said he hadn’t decided whether to start Tucker against Rockies left-handed starter Kyle Freeland the next day.
“It’s tough because, I mean, I feel like I’ve tried just about everything,” Tucker said. “And every time I feel like I’m turning a corner, I get hit with a roadblock. But, you can’t stop. You just got to keep going, try and at least pick out the positives, and just try and ride with that. Just keep on moving to the next day and hope for something to build.”
“The Wrong Girls” is the right comedy if you want to unplug your brain and laugh. The first punchline doesn’t even have words. It’s just two stoner roommates, Frankie (Kristen Stewart) and Molly (Alia Shawkat), ripping a mega-hit and coughing at each other. Finally, they speak in unison: “Jinx.”
Frankie, a Stanford dropout, engineered the living room’s impressive “bong-a-tron.” Molly, a wannabe chef, bakes brownies spiked with pot and blue cheese. (We’re assured they‘re delicious.) These screw-ups share everything: a taste in thrift store cat paintings, a chillaxed attitude toward overdue bills and a comfy inertia that’s kept them both stunted, frustrating Molly’s boyfriend Josh (a likable Zack Fox). In turn, possessive Frankie thinks Josh is a buzzkill.
Soon, the insular twosome will share a mind, too, thanks to a telepathic drug they ingest like idiots, not that they have any gray matter to spare. That’s not entirely fair. The friends aren’t dumb; they’ve just been baked for so long that acting dumb is a habit. (Don’t worry, writer-director Dylan Meyer won’t force them to sober up.)
The plot is confidently stupid. A criminal courier (LaKeith Stanfield) mistakes Frankie for her more successful doppelganger Francis (also played by Stewart), saddling her with a briefcase that a trio of dangerous Danes are determined to steal back. Thus, our heroes must peel themselves off from the couch and go on the run with their resentful felines Dio and GG bouncing along in backpacks.
Voiced by Seth Rogen and Kumail Nanjiani, the pets have opinions their owners don’t want to hear. “I’m pretty sure they’re the ones who gave us fleas,” GG sneers. I like those comics and live with two annoying Maine Coons. Nevertheless, these cats are too chatty.
Meyer is a screenwriter-turned-filmmaker who met Stewart on the set of the underseen 2015 comic thriller “American Ultra.” In the years since, she has also become Stewart’s wife. That’s important only because “Wrong Girls” has the pinpoint silliness of soulmates who spend a lot of time goofing around at home. Meyer wrote the script a decade ago about her friendship with producer Maggie McLean, but no doubt she knows better than anyone how much the smart and sensible-projecting Stewart delights in acting the fool.
The jokes are as flawlessly tailored to Stewart as Chanel couture, be they zany schemes, spacey freak-outs or the sly middle finger Stewart flashes with her 818-tattooed knuckles while her character suffers a jerk (Tony Hale). And they custom-fit Shawkat’s mellower Molly, who trots behind in Frankie’s wake of destruction. The sci-fi twist in the script turns their relationship into a send-up of co-dependence. Their insular bond can’t last forever — can it?
Meyer subverts a couple tropes, embraces others. Comedy capers like this usually deflate in the third act when their pleasures get punctured by unfunny gunfire. The movie sees that trap coming and dodges it by the skin of its teeth. Nimbly, it manages to be both a pacifist film and a subversive one with no faith in the system as it stands. Characters deliver jabs at “Jeff Bozos” and the Epstein class while slyly revealing you shouldn’t trust their takes, either. Frankie invents a new nonsensical insult, calling Molly’s boyfriend Josh “such a customer.” Sure, whatever that means!
“The Wrong Girls” shares its own hive mind with David Wain’s also-good “Gail Daughtry and the Celebrity Sex Pass,” released earlier this summer. Both are star-studded, hyper-L.A. chase comedies that treat their central contrivances as nothing more than scaffolding for the scenes that actually count. Who cares what happens to the Danes’ precious briefcase? We just want to see Frankie and Molly melt down upon learning that their favorite all-you-can-eat lunch spot is closing due to uncertainty in the buffet sector (a eulogy for the real-life Souplantation, whose absence remains deeply felt).
Even within the tenuous reality of the movie, Frankie and Molly aren’t focused on saving their own necks, especially after their clairvoyant powers kick in and the friends realize they can communicate with closed mouths. As lab-coated figures played by Kate McKinnon and Geena Davis attempt to deliver exposition, the pals drown them out chit-chatting about drivel. The stars know it takes skill to act dumb. Christina Applegate described it best: About her portrayal of hair metal bimbo Kelly Bundy in “Married … with Children,” Applegate said, “In her own mind, she’s a genius.”
The film is just wonky enough to wonder if some beats got chopped out of it, like a go-nowhere running joke about how Hale’s front door won’t close or an aside about how Stewart’s Frankie once Jerry-rigged an escape parachute, which cinematographer Todd Banhazl seems to be reminding us of when he lingers on a shot of an awkward shindig’s helium décor. Banhazl does pull off one of the few inventive psychedelic sequences I’ve seen in a while. (To see another, go stream the giddy new campus comedy “Pizza Movie.”)
Or maybe “The Wrong Girls” is simply making an artistic statement about the joy of sloppiness. Here, to be chaotic and colorful is a badge of honor. Just compare the girls’ cluttered digs with their pursuers’ sterile white suits. In that same spirit of excess, there’s an extra scene in the end credits that goes over like a lead balloon. No one in my theater chuckled. But I respected it anyway for insisting on these jokers’ right to remain an unapologetic mess.
‘The Wrong Girls’
Rated: R, for drug use and language throughout, some sexual references and graphic nudity
William Orbit, the English musician and producer best known for his work with Madonna on her beloved 1998 album “Ray of Light,” died on July 23. He was 69.
His family announced his death Friday in an Instagram post that said he died at home but didn’t specify a cause. “He will be greatly missed by us and by so many whose lives he touched through his music, friendship and kindness,” the post reads.
Born William Wainwright in London in 1956, Orbit had already established himself in the worlds of dance music and movie soundtracks — he composed the score for the 1986 hockey movie “Youngblood,” with Rob Lowe and Patrick Swayze — when he linked up with Madonna at a moment of deep personal change for the pop superstar, who’d given birth to her first child and immersed herself in a variety of spiritual practices. Together the two developed a lush yet energetic sound that combined guitars, synths and throbbing club beats.
“Ray of Light,” which sold more than 4 million copies in the United States alone, spun off hit singles including “Frozen,” “The Power of Good-Bye” and the exuberant title track; the LP was nominated for album of the year at the Grammy Awards — Madonna’s only nod for that prestigious prize — and won the award for pop vocal album. Orbit won three Grammys in all over the course of his career.
In 2021, Orbit took pains in an interview with the Guardian to share credit for “Ray of Light” with the singer herself. Madonna, he said, is “a fabulous producer. When it says ‘produced by Madonna and William Orbit,’ people don’t always give her the credit for that. But she’s as responsible as me.”
Orbit and Madonna collaborated again for “Beautiful Stranger,” a Grammy-winning single from the soundtrack of 1999’s “Austin Powers: The Spy Who Shagged Me,” and for an electro-pop cover of Don McLean’s “American Pie” that featured in the 2000 movie “The Next Best Thing,” in which Madonna starred.
He also worked with Blur, U2, Beth Orton, Pink and All Saints, and he made music under his own name, including a 2000 LP, “Pieces in a Modern Style,” with high-tech interpretations of classical pieces by the likes of Samuel Barber and Erik Satie.
The Hogwarts Express has arrived in Perris, Calif.
The Southern California Railway Museum has temporarily turned into Platform 9 3⁄4 to host “Harry Potter: A Hogwarts Express Adventure.” The one-hour theater performance takes place on a moving train and features singalongs, spellcasting and House cheers. Tickets cost between $72.25 and $93.25 per passenger.
The experience is the first of its kind in the United States, said Jarrette Ireland, vice president and general manager of Colorado-based Rail Events Inc., and Kathleen Wallis, vice president of global themed entertainment at New York-based Warner Bros. Discovery.
As of July 23, the experience sold just under 11,000 tickets in pre-sales.
The train event commences as the Harry Potter franchise’s author, J.K. Rowling, continues to draw criticism for her opposition toward transgender women. She has long been criticized for transphobic commentary on X and for funding organizations that fight to exclude trans women from public life.
1.The cast performs with magic wands in “Harry Potter: A Hogwarts Express Adventure.”2.A passenger holds a Platform 9 3/4 ticket.3.The Hogwarts Express conductor performs in “Harry Potter: A Hogwarts Express Adventure.”(David Fouts / For The Times)
“What’s really terrifying is that influence. It’s already being felt in the United States,” Williamson said. “There’s a trans genocide happening. It’s very serious.”
Williamson, who is nonbinary and identifies under the trans umbrella, said it is “already very scary being openly queer in Perris,” where the Harry Potter experience is hosted. She, her children and other queer and trans folks in their circle have experienced hateful slurs, home vandalism and other queerphobic prejudice.
Asking the public not to purchase anything Harry Potter related, they said, is “the most we feel that we can do for our community.”
Responding to general concerns about Rowling, Wallis said, “We feel privileged to create these experiences for the fans who love the stories, and there’s a very deep fandom out there. A lot of these kids, my own included, grew up with these movies and stories, and they love to experience them in new ways.”
Warner Bros. Discovery did not respond to a request for comment about local advocacy at the time of publication.
Ireland said Rail Events “is really proud to welcome all guests to a great experience” and later clarified that it doesn’t have “a personal connection” to Rowling.
But Warner does. For instance, its new Harry Potter television series will air this Christmas.
There was no mention of Rowling during a recent preview of the train experience, which is geared toward children. Passengers travel through “Platform 9¾” and board the train, where four Hogwarts students belonging to each House greet them.
A cast member carries Fred Weasley’s Basic Blaze Box.
Passengers watch the performance in “Harry Potter: A Hogwarts Express Adventure.”
“Are you a Hufflepuff?” one of the Hogwarts students asked a visitor.
For those unfamiliar with the Harry Potter universe, each House embodies a trait: courage for Gryffindor, loyalty for Hufflepuff, wisdom for Ravenclaw and ambition for Slytherin.
When the train takes off, the students make these personality differences known. The Gryffindor and Slytherin maintain a traditional rivalry, the Ravenclaw nerds out about magical history and the Hufflepuff attempts to mediate them all.
To successfully complete their journey, each student must embody a virtue that belongs to a different House. The Gryffindor must hone wisdom, the Hufflepuff courage, the Ravenclaw ambition and the Slytherin loyalty.
Throughout the ride, the students put their new traits to the test: confronting a hippogriff blocking the tracks, capturing runaway chocolate frogs and facing off a soul-sucking dementor. By the end of the journey, they overcome their House stereotypes and learn they aren’t so different from one another after all.
A dementor puppet moves through the train in “Harry Potter: A Hogwarts Express Adventure.”
According to the experience’s website, the train travels along a route through the neighborhoods of Perris and starts and ends at the same place. When visitors disembark the train, they head to an area inspired by Hogsmeade, a village that sits outside Hogwarts. Here, they can purchase themed drinks, food and merchandise.
Navigating the logistics of “putting theater tech into a train” was a “real adventure,” Ireland said. Inside, TV screens replaced the overhead luggage compartments, and a strip of lights lined the carriages’ walls from front to back. Gray shades embellished with a circular “Hogwarts Express” logo covered all the windows, so visitors can’t see outside.
These elements aided the storytelling. The TVs played scenes from the Harry Potter films and helped suspend disbelief where magical creatures were involved, and the lighting system aided in spellcasting.
Streaks of light fly down the carriage in one dueling scene, and in the show’s climax, the lights go dark when a dementor — played by a hooded actor puppeteering the creature strapped to their torso — floats down the aisle.
It was the Hufflepuff who, with the help of passengers, vanquished the dementor.
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1.The cast showcases floating feathers after performing a levitation spell.2.A cast member carries a box of chocolate frogs through the train.
“Everyone, repeat after me!” the Hufflepuff called, wand pointed at the creature. “Expecto Patronum!”
As passengers chanted the incantation together, white light flashed through the carriage, and music swelled from the speakers. Defeated, the dementor drifted down the aisle and out of sight.
The experience will run at the Southern California Railway Museum through Sept. 27.
Ireland said future stops will be announced in the fall, with plans to expand throughout North America and, ultimately, to the United Kingdom.
If you go
‘Harry Potter: A Hogwarts Express Adventure’
Where: Southern California Railway Museum, 2201 S A St., Perris, Calif., 92570 When: Through Sept. 27 Tickets: $72.25-$93.25 per passenger Additional information: harrypottertrainadventure.com
PREMIER INN has revealed plans to open a £14million hotel in a seaside town.
The UK’s largest hotel chain is set to to transform an “underutilised” area near to several tourist attractions.
Premier Inn is set to open the 108-bedroom hotel in HunstantonCredit: NurPhoto via Getty ImagesThe site earmarked for development is in Southend Road on the Norfolk coastCredit: King’s Lynn and West Norfolk Borough Council
The investment by Whitbread, the company which owns the Premier Inn brand, has been welcomed by residents and businesses in Norfolk.
The site earmarked for development is in Southend Road, Hunstanton.
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Premier Inn has been discussions to create the 108-bedroom hotel “for years”.
Planning permission will now have to be gained before the development can take place, which would be built near Seagate (East) Car Park, the council said.
Simon Ring, deputy leader of King’s Lynn and West Norfolk Borough Council, described the move as a “vote of confidence” in the future of the town.
He said it followed years of discussions between the local authority and the firm.
“This is huge news for Hunstanton,” Ring told the BBC.
“The sheer fact the UK’s largest hotel chain wants to invest in Hunstanton is a vote of confidence in the resort’s future, placing us alongside Norfolk’s other big visitor destinations, and this investment and new facility will hopefully act as a catalyst for further money.”
Whitbread acquisitions manager Paul Smith said the new hotel would provide “visitors with the quality, value and reliability they expect from the UK’s leading hotel brand”.
Premier Inn currently operates nearly 850 hotels in the UK.
Hundreds of Argentinian fans packed Boca Juniors steakhouse in the Elmhurst, Queens neighbourhood of New York City’s Little Argentina hours before the World Cup final kickoff against Spain. The steakhouse, known for its festive atmosphere, has been a “temple” for the Argentinian diaspora during the 2026 World Cup.
With just one episode remaining, audiences are eagerly awaiting answers about what actually happened to Llyr Owen (Ieuan Evans) and whether his cousin Rhys Owen (Mark Lewis Jones) truly played a part in his demise.
Yet even before the finale airs this evening, Wednesday, July 1, viewers’ thoughts have already drifted towards what they’ll be tuning into next week.
Fortunately, Channel 4 has now unveiled The Light in the Hall’s successor, which promises to make for a truly eye-opening watch.
One-off documentary How to Get Filthy Rich with Gary Stevenson will land on Wednesday, July 8, at 9pm, on Channel 4.
The 90-minute film follows the former Citibank trader-turned-economic campaigner as he journeys across the UK to examine structural wealth inequality and make the case for a wealth tax.
Its official synopsis reads: “The former finance trader Gary Stevenson, now making a name for himself on social media, explores the wealth gap which he believes is tearing UK society apart.
“He travels the country to meet those who are struggling, as well as multi-millionaires – and even some billionaires.
“Having made millions himself working in finance, Gary believes the solution is to tax the super-rich.
“Here he goes head to head with those who oppose his ideas, as well as meeting others who fully support his proposal.”
How to Get Filthy Rich with Gary Stevenson is a one-off special, and Channel 4 is yet to announce any plans for a follow-up programme.
The Light in the Hall: Still Waters is available to watch on Channel 4.
NEW YORK — When Varun Venkatesh cast his ballot in New York’s primary this week, he thought about “a good litmus test for me as a voter.” He wanted to know what the candidates are doing for the Palestinian cause.
The 27-year-old Brooklyn resident decided to support Claire Valdez, who was backed by Mayor Zohran Mamdani, over Antonio Reynoso, another progressive who was the choice of the Democratic establishment, because she had “a clear and more consistent stance.”
Valdez triumphed in her congressional primary, as did two other insurgent candidates endorsed by Mamdani, and Israel was a key issue in each of the races. Now the question for Democrats is how many more voters like Venkatesh are out there as the party charts its path toward the November midterms and the next presidential election.
The war in Gaza, which began during Joe Biden’s presidency and undermined Kamala Harris’ bid to replace him, remains an open wound, and how Democrats attempt to stitch it closed will help define their future. A step in any direction risks alienating pieces of the party’s unwieldy coalition at a time when it’s trying to unify around the mission of retaking control of Congress.
“The Israel question has become defining,” said Matt Bennett, who leads the centrist Democratic group Third Way and frequently criticizes progressives as jeopardizing outreach to independent voters. He said some in Mamdani’s camp have embraced “a new level of extremism,” warning that “Republicans are very good at weaponizing crazy ideas on the fringe against mainstream candidates.”
Mamdani has no such concerns as he tries to reshape the Democratic Party from the mayor’s office of the country’s largest city. He sharply criticized the American Israel Public Affairs Committee for defending what he calls “a status quo of immorality” in Gaza, and voters who celebrated his slate’s victories on Tuesday night chanted “Free Palestine.”
The mayor, meanwhile, argues that New York should shape Democrats’ search for their national identity in the coming years.
“When does the race for 2028 begin?” Mamdani asked last week on a stage with his slate of candidates. “It starts now.”
Israel-Palestine conflict animates Democrats’ left flank
Even for a party accustomed to searing debates between progressives and moderates, the schism over Israel has been blistering. Although the U.S. alliance with Israel once had bipartisan support, the ascendancy of Israel’s right wing led by Prime Minister Benjamin Netanyahu strained those ties over the years. Then the war in Gaza shredded them.
Biden was denounced as “Genocide Joe” by pro-Palestinian supporters, who shifted their attention to Harris once she replaced him as the Democratic nominee for president two years ago.
“She was trying to the right thing,” said Jamie Harrison, who led the Democratic National Committee at the time. “It was a hard and awkward place to be in.”
Harrison said the war in Gaza helped cost Harris the state of Michigan, which has a sizable Arab American population. However, he doubts that it was a defining national issue then or now.
“It’s one thing to be in New York. But I can tell you that most places, including where I am in South Carolina, it’s not what people are talking about,” he said. “They are concerned about affording gas and groceries and housing.”
Harrison expects Democrats to look for middle ground in the future, which includes “still supporting Israel’s sovereignty” while calling for “reducing U.S. aid to Israel and changing the nature of the relationship.”
One primary victor blasted the ‘hug Bibi’ strategy
Finding middle ground has been difficult so far, as demonstrated by the primary in New York’s 10th congressional district.
Brad Lander, the former city comptroller backed by Mamdani, successfully challenged U.S. Rep. Dan Goldman in the race.
Both candidates are Jewish, and both have criticized the Israeli government. But Lander says the war in Gaza is a genocide, and Goldman does not.
“Our party needs to admit that Joe Biden’s ‘hug Bibi’ strategy was a catastrophic mistake,” Lander said in his primary victory speech. He added, “We cannot keep paying for Netanyahu’s wars with our tax dollars. Democratic voters are saying this, loud and clear.”
Ari Rassouli, a voter in the district, said the incumbent’s views on Israel were “one of the many reasons that I didn’t like Dan Goldman.”
Describing the war as a genocide, she said “a candidate that is in support of that has no place in our democracy at all.”
While talking to reporters on Tuesday, Lander acknowledged that Israel was among the top issues along with affordability and immigration.
“I like talking to Jewish voters who feel anxiety about the times we live in and say, ‘I have these values, I want to treat everyone like they’re equal and with dignity and created in God’s image. How do we navigate the times we’re in?’” he said.
He added with a smile, “Those are probably the longest conversations at the polls.” ___
Barrow, Peoples and Offenhartz write for the Associated Press. AP writers Anthony Izaguirre and Larry Neumeister contributed to this report.
The Westside subway extension has long been L.A’s most stubborn urban fantasy: an infrastructural mirage chugging toward the sea, and then, with less sex appeal, Westwood. Stalled since the ‘80s, the first western leap of the elusive project is now real. And in the month or so since the Metro D Line pushed beyond Wilshire/Western to three new stations — Wilshire/La Brea, Wilshire/Fairfax, and Wilshire/La Cienega — multiple rides have made the benefits, and shortcomings, clear.
Suddenly the city feels different. Not transformed, exactly. But more connected. The fracturing grip of the city’s incomprehensible expanses, clogged arteries, and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. The dense belt tying the city together more complete, a critical mass of movement, still expanding, where there used to be a vestigial nub.
The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience, a tribute to Metro’s sharpened design approach and its ever-evolving commitment to public art. But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below. Metro, which has become the most dominant regional force for urban transformation, is still less ambitious once it leaves the station box.
Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax station in Los Angeles in early May.
(Genaro Molina / Los Angeles Times)
Before descending into the new stations, you might want to take a moment to appreciate that they exist at all, surviving, among other trials, a massive methane explosion, federal and local bans, major delays, and a battalion of lawsuits. Then notice how their myriad components work together. Art, for instance, is not simply attached to walls, but forms them, its patterns tracing your descent through space. Lighting doesn’t just illuminate surfaces, but becomes an artful complement to what’s around it. Escalators are not just conveyances, but reflective surfaces forming a utilitarian palette for art and light. The line between each piece becomes blurred, creating a sense that all is working together — a layered place that is intuitively easy to use.
This fluent incorporation of art builds on the long-running L.A. Metro Art program (formerly Metro Art in Transit), which since the early ‘80s has commissioned and installed over 200 artworks across the sprawling system, from mosaics and photography to multi-story murals. In fact, it’s quietly hummed along as one of the most successful public art programs in the country.
Artist Fran Siegel’s artwork at the Wilshire/La Brea Metro station is part of one of the most successful public art programs in the country.
(Carlin Stiehl / For The Times)
In many of its earlier iterations, art and architecture were conceived together to create strange, jaw-dropping, one-of-a kind spaces, like Peter Millar and Ellerbe Becket’s Santa Monica/Vermont station. Opened in 1999, this Red line stop featured among other things, a goliath stainless steel wing canopy topping a 42-foot-tall, raw concrete-clad escalator cavern, lit by massive skylights, etched with row after row of enigmatic questions.
Another personal favorite is Stephen Antonakos’ “Neons for Pershing Square,” a postmodern wonderland of suspended neon sculptures in the depths of downtown’s Pershing Square station that creates a kind of 3-D sculpture playing off the ‘80s gridded ceilings and Miami Vice white columns.
Wild creativity aside, these 20th century stations are marked by inconsistency in quality, comfort, and maintenance — and the lack of predictability can be confusing. (Wait, where do I go now?) This includes Metro’s inaugural A line, in which art-driven architecture, though fun, often feels like a quixotic gesture, unable to compete with loud, uncomfortable, concrete-dominated settings.
A man waits for a train on a platform at the Wilshire/Vermont station, which is along Metro’s B Line, formerly the Red Line.
(Brian van der Brug / Los Angeles Times)
Lines opened in the 2010s had their own issues. The Expo line (now the E line), barely 14 years old, features rather tentative wavy canopies and surface wraps and comparatively small spaces for artworks. With the new extension, Metro has found a balance between completely foregrounding art and relegating it to background. The new designs are guided by a “kit of parts,” a shared language of materials, lighting, signage, and wall systems that was developed first by local architects Johnson Fain and later by the global architectural firm Gensler, which served as the D Line’s systemwide station designer.
Yes, I miss the epic scale and immersive feeling of those older stations. But the tradeoff is a cleaner, brighter, more legible and human-scaled version, lending long-needed coherence to both the stations themselves and the system at large. And by the way, the art is still fantastic.
At the descending entryway of Wilshire/La Brea, for instance, the cosmic, angled lines of Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” which are embedded into porcelain enamel, channel not only the geometric forms of Wilshire’s Art Deco Buildings, but the visceral one-point perspective of a train speeding into a tunnel, and even the angled geometries of adjacent escalators.
Artist Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” at the Wilshire/La Brea Metro station.
(Carlin Stiehl / For The Times)
Heading down allows you to ponder its shifting mysteries. Circular abstractions might suggest headlights zooming along Wilshire, or perhaps a train’s fast-approaching lights? Its artfulness expands outward. Frosted glass panels wrapping the entry portal are clad with a similarly mystical language, accentuated by neon strips of light, with the lightweight canopy above reflecting the colorful lines. Art and architecture are working together, each feeding off the other.
A particularly fertile locale for drama at each station are the wide bands of art topping the tunnels themselves: beacon-like destinations for your eyes, not to mention invitations to occupy more of the platform. In the same station, Mark Dean Veca’s “Miracle of La Brea” takes its cues from the curvy ornament and stepped motifs of the nearby Wilshire Tower’s Art Deco façade. Look closer, and those crisp patterns dissolve into swirling, viscous forms that evoke the La Brea Tar Pits, flowing oil, and even barley-shaped references to the area’s agricultural past. The mural’s repeating forms also mirror the station’s rigorous order, its clean, syncopated forms and linear perspectives.
Another hallmark of the new stations is how they subtly make infrastructure itself into art. Celebrating — whether intentionally or not — the improbable engineering feat of carving a subway under one of the most dense, congested, and geologically and politically complicated parts of Los Angeles. Jogging white lines along concourse floors, meant as tactical guides for the vision impaired, rhythmically and playfully lead you forward. Glinting stainless steel railings, gridded perforated metal ceilings, and thin bands of suspended light bouncing off polished terrazzo floors, pull you forward on stairs and platforms, tracing the speed and linear movement of trains. Corduroy concrete walls, etched with endless vertical grooves, give tunnels a tightly rhythmic texture while still exposing their hefty bones.
The Wilshire/La Brea Metro station is part of the D Line extension and features evenly lit spaces, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses.
(Carlin Stiehl / For The Times)
The quality of surfaces and experiences has been upgraded too. Unlike most older Metro stations, where low light and heavy surfaces can feel tired and oppressive, spaces are more evenly lit, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses. Glass elevators and large cuts between levels create a sense of connected, kinetic openness.
Sometimes this palette feels too uniform and predictable. The heroic scale and quirkiness of older stations can be more exciting; more unique to their place. A surprise or two never hurt anyone. But overall it’s a good balance of unity, utility and identity, allowing the art to sing, but as part of a chorus, not a soloist.
The tune, however, shifts dramatically above ground. Station plazas wrap handsome modern architecture—clean, controlled, well-detailed portals of beveled stainless steel, frosted glass, and art peeking above entryways and on peripheral panels. But the hard plazas themselves are barren; lacking enough shade, art, greenery and invitation. Benches, where they exist, are tiny and defensive.
Pedestrians walk past the Metro D Line at Wilshire and LaBrea, which features a barren plaza lacking the beauty and design of the art-filled stations below.
(Kayla Bartkowski / Los Angeles Times)
These places seem scared to let people linger — clearly trying to avoid some of the city’s intransigent challenges, like homeless encampments, disorder, maintenance burdens, and controversy. This is understandable, but in avoiding those risks, the areas also avoid the purpose of public space: to create a place for everyone, not just a zone for people passing through.
Yet life appears anyway. At Wilshire/Fairfax, a dance class from a nearby studio recently gathered in a thin sliver of shade around the station. It was beautiful, and improvised, but also indicative of the underlying problem. Civic life was there, but the space had failed to make enough room for it. Imagine if that plaza had real shade, generous seating, creative sculpture, plantings, water, and edges that encouraged people to stay.
Another unresolved question is service. On multiple visits trains were not crowded. They also didn’t come often enough. Ten or 12 minutes of stagnant wait time does not feel like freedom if you are trying to lure Angelenos out of cars.
The last-mile problem doesn’t help. There is no easy parking near stations for those who don’t live close, no seamless transfer or final step. The bikes that Metro provides still have share docks, meaning you’ll need to find another dock on the far end (good luck). This remains, as it should, a system for people who already need transit. But for an institution struggling to add ridership, you wonder if it can become a system for people who have choices.
The Wilshire/La Cienega Metro station is part of L.A.’s new D Line extension. The outdoor plazas are not conducive to community or gatherings.
(Carlin Stiehl / For The Times)
Still, we should not understate what has happened. Los Angeles finally has subway stops that serve some of its densest, most public destinations, and Metro is still growing. The D Line makes the Miracle Mile feel less like a traffic corridor and more like a metropolitan spine. It suggests a Los Angeles in which neighborhoods, jobs, cultural destinations, and sidewalks begin to connect physically and with surprising immediacy. (Twenty minutes from LACMA to downtown feels like light speed!) It makes the city feel more like a city.
It also reveals the imbalance of power and imagination in Los Angeles. Metro, for all its flaws, has the ability to marshal money, planning, engineering and art at a scale the city itself generally cannot. All the more reason to branch more boldly beyond its tracks and stations.
The question remains: Can the agency coordinate with government, developers, cultural institutions, and neighborhoods to make these stations into places rather than portals?
The new stops prove that Los Angeles can design infrastructure artfully below ground. Above ground, however, it too often retreats into caution. The subway has arrived. The city around it still has to catch up.
A graphic shows where United Airlines Flight 169 clipped a 15-foot-high light post along the New Jersey Turnpike as it was approaching Newark Liberty International Airport on May 3. Image courtesy National Transportation Safety Board
June 4 (UPI) — The pilots of a United Airlines flight that flew low enough to shear off a light pole on the New Jersey Turnpike as it landed in May knew they were flying too low but were unable to compensate in time, a preliminary report stated Thursday.
The first officer of United Airlines Flight 169 from Venice, Italy, to Newark Liberty International Airport called out, “Hey you are slow,” just before the Boeing B767-424ER clipped a light pole along the turnpike while approaching Newark’s runway 29, according to the National Transportation Safety Board’s initial report of the May 3 accident.
The incident resulted in debris from the light pole impacting a tractor-trailer traveling southbound on the turnpike.
The aircraft was just 19 feet above the busy highway when it connected with the 15-foot-high light post.
Following the impact, the airplane landed and taxied to the gate without further incident, after which the three flight crew members, eight cabin crew members and 220 passengers deplaned at the gate without any injury.
The driver of the tractor-trailer sustained minor injuries, the NTSB said, while the damage to the aircraft was called “substantial.”
The safety agency’s report found that moments after the first officer voiced an initial alarm about the plane being too low, he followed it by saying, “You are still slow and a little low.”
The pilot said at that point he looked outside and recalled, “I thought we were low,” but since they were about to touch down, it was too late to order a “go-around” and abort the landing.
The captain stated that just before touchdown “he heard a thump,” the report said, while the first officer recalled feeling a “mild jolt” as they neared the runway.
After the flight landed, the purser reported that the aft flight attendants heard “a loud bang” just prior to landing.
A swarm of drones lit up the evening sky near Taiwan’s Taipei 101 skyscraper in a dazzling display depicting a giant robot, a sports car, and Earth. The light show was part of Computex Taipei, one of Asia’s largest technology exhibitions.
AN English busway, hailed as the longest in the world, is on track to get a £150million upgrade.
Building work on the busway is set to begin in January 2027, with construction hoping to improve travel times and reliability for commuters.
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A connection between Cambourne and Cambridge is set to join the buswayCredit: AlamyThe busway currently spans 25km, making it the longest in the worldCredit: Alamy
Cambourne and Cambridge are set to become connected by the busway, as Cambridgeshire County Council announces they are searching for contractors.
Named the Cambourne to Cambridge busway, or the C2C, the service will span the 13.6km distance between the locations.
The journey becomes part of the Cambridgeshire Guided Busway, a rapid transit service that connects Cambridge, Huntingdon and St Ives.
It is currently the longest busway in the world at 25km long, beating the O-Bahn Busway in Adelaide, South Australia.
Commuters will also get access to a new park and ride schemeCredit: AlamyThose interested have until the beginning of July to submit participation requestsCredit: Alamy
Plans will see a segregated guided busway with adjoining emergency and maintenance access tracks, including public transport stops between Cambourne and Cambridge.
A brand new Travel Hub, with a park and ride service, will also be constructed, providing spaces 2,000 spaces for cars, bikes, and coaches as part of the “turn up and go” scheme.
Constructing this busway aims to improve journey times and reliability of public transport, also creating jobs and more housing in the area.
The council estimates work to complete this upgrade will cost around £180million including VAT, and £150million without.
Now, interested contractors have until noon on July 2, 2026, to submit requests to participate in the construction, with the award decision date set for December.
It is hoped that construction will begin as early as January 4, 2027, and be completed in December 2030.
One more day and it’ll all be over. I’m referring to the primary election, of course, and the unremitting campaign ads that have infiltrated every aspect of our being as Californians.
Authentic or paid influencers promoting candidates on TikTok and Instagram. Facebook ads vilifying or praising various measures. Incessant, repetitive TV campaigns that get nastier with every election, yet still manage to feel like an analogue remnant from 1982. The worst? Those sponsored leaflets and postcard mailers that end up as makeshift coasters, mosquito swatters or unread refuse that goes straight from the mailbox into the blue recycle bin.
The king of ad spending is Democratic gubernatorial candidate Tom Steyer. He’s behind the most expensive political advertising campaign in the country this year. A former hedge fund manager, Steyer has reportedly spent more than $200 million on his campaign, with a major chunk of that for broadcast TV, cable and radio — 20 times the amount spent by fellow Democrat, former U.S. Secretary of Health and Human Services and California Atty. Gen. Xavier Becerra. And Steyer is still polling behind Becerra.
I never thought I’d write this but it’s not always about the money.
Xavier Becerra, front-runner in the race for California governor, speaks before a crowd at UFCW Local 1167 Union Hall.
(Genaro Molina/Los Angeles Times)
Voters have more resources than ever should they choose to actually research and learn about who and what is poised to shape the future of their city, county and state.
There’s no shortage of broadcast, cable, digital and print reporting about former reality TV personality turned mayoral candidate Spencer Pratt. He uses AI!
The battle between incumbent Karen Bass and her closest Democratic competition, Los Angeles city council member Nithya Raman, dominates local newscasts. And there’s pundits from both sides arguing for and against these choices on every available platform.
Given the amount of information now at voter’s fingertips, we should be the most informed voting populace in the history of ballot casting. But are we?
A new poll by UC Berkeley’s Institute of Governmental Studies that was co-sponsored by the Los Angeles Times asked 8,578 registered voters across California what sources they rely on to get news and information about election-related issues. The poll, which was conducted online May 19-24 in English and Spanish, found that nearly half of the state’s electorate (47%) said they refer to the official voter information guide that is mailed to voters in advance of each election.
Discovering that a nonpartisan, non-sponsored source of data topped the list is a welcome surprise. Today’s media-verse is so fractured and bifurcated along political lines, I just assumed that confirmation bias would drive most folks toward friendly sources, i.e. what they want to hear.
Not as surprising is that 44% of those polled said they use Google or other search engines to seek out election-related information, and greater than 3 in 10 obtain election-related information from social media (39%). Traditional means of information weren’t far behind search engines. Those polled said they still rely on national or cable TV news (39%), newspapers, online or in print (37%), and local TV news (35%). One in three (33%) get information word-of-mouth from family, friends, neighbors or co-workers.
Gubernatorial candidate and billionaire Tom Steyer, right, meets with supporters at a campaign stop.
(Sara Nevis/For The Times)
“The substantial differences in news sources across generation, education and partisanship suggest that we are a considerable distance from the information environment that dominated most of the 20th century, where local newspapers, network news and local television stations dominated,” said Professor Eric Schickler, co-director of the Institute of Governmental Studies. “This fragmentation means that voters may no longer share a common frame of reference when evaluating candidates and election issues.”
The increasingly splintered ways in which voters seek information, fueled by the rapid changes in technology and media, has kept political campaign strategists on their toes.
“Getting attention is the first barrier, and then once you have that attention, how do you convert that into support?” says Democratic campaign consultant and strategist Brian Brokaw. “You have to create a surround-sound effect in order to persuade the voter to go for your candidate or your issue, and they have to hear from multiple avenues. Voters are innately skeptical of advertising, especially when it’s a very direct sale from a candidate. That’s why you’re seeing the use of more influencers in campaigns, particularly paid influencers, who may or may not be disclosing that they are being paid. That’s been a prominent issue in the governor’s race.”
Age, or generational differences, are another deciding factor in where voters look for more intelligence on issues and candidates. The poll found that two-thirds of voters under the age of 30 (67%) and a majority of those ages 30-39 (52%) use social media such as Facebook, X, Instagram, or TikTok to get their information.
Getting to know a candidate, particularly via social media, isn’t necessarily part of a rigorous, fact finding mission. Laughing at Pratt’s Batman-themed video or Gov. Gavin Newsom’s satirical X posts are more about bonding with the person than unpacking their policies. Real or perceived, discovering a candidate via one’s Instagram feels more organic than seeing them on billboard or TV ad.
“One way that politics has changed is that people are craving authenticity. Someone like [Zohran] Mamdani, was very successful and promoted himself from the back of the pack to mayor of New York City. But what people are seeing doesn’t mean that’s the truth,” warns Republican consultant and campaign strategist Kevin Spillane. “I’ve been involved in politics for 40 years. A lot of people are not how they present themselves. But we still crave authenticity, we want to believe [in someone], we want that connection.”
We’ll soon see who Californians choose to represent them and their concerns — or which candidate waged the best campaign warfare, substantive political arguments be damned. But it may take a minute to count all the votes. California reached a record number of registered voters ahead of Tuesday’s primary election, according to the Secretary of State’s office. Officials say more than 23.1 million Californians are now registered to vote statewide.
West Coasters who want to understand what they’re voting for have infinite resources to turn to, some more useful than others. Sponsored mailers (the aforementioned mosquito swatters) only appealed to 9% of those polled as a useful source of information. But did you really need a poll to tell you that?
