light

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.

In Perris, local LGBTQ+ activists urge for a boycott. Ashley Williamson, lead director of R.I.S.E. Perris Pride, said that financially supporting the experience — and anything to do with a Harry Potter trademark — funnels money to Rowling, who puts that wealth toward initiatives targeting trans rights.

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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.

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.

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.

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.

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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.

The Light in the Hall: Still Waters is airing its long-awaited finale tonight.

Light in the Hall is drawing to a close, but Channel 4 has already revealed what will be stepping in to fill the void.

For the past several weeks, psychological crime thriller The Light in the Hall: Still Waters has been gracing Channel 4’s coveted primetime 9pm slot every Tuesday and Wednesday.

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.

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.

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.

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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?

Jones’ performance wrote another chapter in his Wembley story, which started when he helped Coventry win the EFL Trophy in 2017 and being on their books when they won the League Two play-offs in 2018.

His previous visit for Notts involved him scoring a penalty in the National League promotion final shootout against Chesterfield in 2023.

He followed that up by representing Malta as a substitute against England in November 2023 before going on to be named League Two player of the year in 2024 after breaking a record shared by Thierry Henry and Kevin de Bruyne with 24 assists.

“I’d like to think there’s another chapter at Wembley coming for me,” said Jones. “I haven’t lost with a club. I’d like to think Wembley is a good place for me.”

County’s promotion was their 14th in EFL history, one short of the all-time record held by Grimsby Town, and Jones says there is no reason why they cannot be optimistic about the future.

“My godfather said to me when I went to Notts, ‘I really believe you can do something similar to what you did at Coventry and go up the leagues. Notts seem like the sort of club who would do something like that, they are a massive club’,” said Jones.

“It wasn’t that long ago that I was a Coventry City player and we got promoted against Notts in the play-offs. I hope they have forgiven me for that.

“Who knows where we can go. We are a fantastic club and I’m sure we’ll attract a lot of talent who will want to come and join us.”

As for it being a third major success among his significant clubs, Jones said he spoke about Arsenal, Coventry and Notts County having fruitful campaigns in a family group chat at the start of the season, saying it “would be amazing”.

“And it’s happened, fantastic.”

The BBC star finds it ‘heart-breaking’ that her great x3 grandfather had such a difficult start in life – and was later declared ‘destitute’.

Zoe Ball was famously the top-earning presenter at the BBC, earning a high of £1.4million a year as host of the Radio 2 Breakfast show back in 2021. But in the new series of Who Do You Think You Are?, the radio star discovers that her great x3 grandfather James Temby, a Cornish miner, was deported from Guernsey as a young father for being “destitute”.

He and other members of the family, who had travelled there to start a new life with the promise of work in the granite quarries, were ordered out after two years. And this came after he’d already had a particularly tough start in life – spending six weeks in Bodmin jail as an illegitimate two-year-old after his single mother Julia was locked up for six weeks in 1851 for an “assault” an another woman.

On hearing how the pair of them would have spent time in the pitch black at the Cornish reform prison, which restricted access to light in order to encourage better behaviour from inmates, Zoe is horrified. “It’s heart-breaking isn’t it?” she says.

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Standing in the tiny, draughty cell – which could have been the very one where her ancestors were incarcerated – she also learns that the prison was silent, and so all speaking was banned, and that the inmates also had their heads shaved to prevent lice.

Zoe gasps: “That’s tough living isn’t it? It’s pretty devastating to think of a two-year old living in these conditions. Must have been terrifying for both of them.”

Jess Marlton, general manager of The Bodmin Jail which is now a hotel and museum, agrees: “Trying to keep a two-year-old quiet I should think was quite a challenge.” But she explained: “There was nowhere else for him to go and no other means to support him.”

Zoe stays the night in one of the converted cells and admits she had to “sleep with the light on”. Afterwards there is happier news when she discovers that James went on to marry her great x3 grandmother Mary Ann at the age of 19 and, despite the setback in Guernsey, he and his family fared better once they returned to England. They were initially sent to Plymouth in 1869 but by 1875 had moved 400 miles north to County Durham, which is where Zoe’s late mother Julia grew up.

James successfully secured work in the coal mines and they also ran a greengrocers shop. By the time he died 40 years later, at the age of 73, he was said to be held in the “highest esteem” by the local community. Shown a picture of the shop, based in Hunwick, Zoe says of Mary Ann: “There she is, she’s got her pinny on ready to work. It’s so wonderful to see their faces.” The couple had five children who all went on to marry.

Zoe – who’d speculated at the start of the film that she was descended from “a long line of wrong ’uns” – is thrilled to see that James was “respected in the end”. She admires the “strength and resilience” he showed in moving around to find work and support his family and feels she was actually “quite wrong” about the family history journey she’d expected to go on.

Zoe, 55, also tells the programme that she was brought up by her dad, former TV presenter Johnny Ball, from the age of two when her parents divorced, and didn’t have any contact with Julia for 14 years – which was “pretty tough”. Having fully reconciled with her mother in her later teenage years, she says that Julia’s death, in 2024, made her take a long hard look at her own life. “It really made me step back and reevaluate what’s important,” she explained. Speaking of her 15-year-old daughter, Nelly, she said “I really just want to be mum and be around for her, before she’s grown up and off into the big wide world like her brother.”

In the programme the former Radio 2 breakfast star also learns that her impoverished maternal grandmother was a serial fantasist who had “delusions of grandeur”and was sent to a mental hospital.

Margaret ‘Peggy’ Minto was committed for acute mania after being put on trial for shoplifting. Poor Peggy’s fantasies continued even while she was undergoing treatment, which included electroconvulsive therapy – an electric current passed through the brain.

Zoe’s only regret is that Julia did not live long enough to find out the fascinating details of their shared ancestry. “It’s been hard to do this without Mum,” she sighed. “I want to ring her up – I know she’d be really chuffed.”

– Zoe Ball’s episode of Who Do You Think You Are? airs on BBC1, May 26 at 9pm.

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