Line

When Dolly Parton sang, “Working 9 to 5, what a way to make a living,” it was an understatement.

The legendary country singer, who died Tuesday after a brief battle with cancer, “worked up until the day she died” on multiple projects, her longtime manager Danny Nozell said in a statement to The Times.

“She loved seeing her dreams come to life, and loved knowing her work brought people joy,” Nozell said. “Ever the planner, Dolly worked with the team that she handpicked, for the past several years to build a project roadmap that will guide us for decades to come.”

The projects vary from a line of Dolly Parton dolls, which will launch online Sept. 15, to a biopic and a docuseries with release dates to be revealed later. A scripted show and an animated series based on Parton’s “Billy the Kid” book franchise are scheduled to be released on a date to be determined.

Other projects announced were Dolly’s Tennessean Travel Stop — a travel center in Cornersville, Tenn. — which will celebrate National Truck Driver Appreciation Week beginning Sept. 13; and Dolly Parton’s SongTeller Hotel in Nashville, where patrons can book stays starting Sept. 14, with a grand opening scheduled for Sept. 29.

The Parton estate will open the 20,000-square-foot Dolly’s Life of Many Colors Museum at the SongTeller Hotel on Sept. 29 and launch Dolly’s Cup of Ambition Coffee online on the same day. The coffee line will be available at retail stores starting spring 2027.

Dolly’s Dog Treats are on the calendar for early 2027, along with Dolly Bedding & Home Decor debuting in the third quarter of next year.

Broadway previews for “Dolly: A True Original Musical” will begin in December, with opening night scheduled for Jan. 19, 2027. The estate is also collaborating again with fashion designer Kendra Scott for a “9 to 5” jewelry collection.

Nozell guaranteed Parton’s fans that if any unreleased music, products, books, experiences and campaigns are launched through the official Dolly Parton channel, each was personally stamped on by the singer.

“As the leader of the team responsible for overseeing her legacy, we will ensure the many dreams she had yet to fulfill are brought to life,” Nozell said. “Many projects were in various stages of development, and we want to be transparent with her fans about this fact.”

This is one of the country’s best-preserved medieval towns.

The UK has no shortage of amazing historical towns and villages. One in particular is famous for looking frozen in time after its primary industry collapsed, leaving the homes preserved as they looked in the 16th century.

Lavenham in Suffolk is one of the most important wool towns, and back in the 15th century, it was one of the wealthiest settlements in England thanks to the booming wool trade. Wealthy merchants built large, opulent homes in the town and used their cash to fund the late-Gothic Church of St Peter and St Paul.

However, in the late 16th century, the wool industry was decimated by cheap foreign imports and heavy taxation.

The formerly wealthy people of Lavenham saw their money disappear overnight, and people could no longer afford to rebuild or modernise their homes.

These same timber-framed Tudor homes have stood in place for centuries, untouched and now are an iconic sight on the town’s high street.

More than 300 of them are listed as historic structures, and hundreds lean at odd angles due to the warping of the timber over the years.

On Instagram, a visitor said: “This 1,000 year old village feels frozen in time!”

One of the must-sees of the village, aside from its history-lined streets, is the spectacular Lavenham Guildhall.

This 16th-century building is now managed and maintained by the National Trust.

Throughout the building there are displays you can read and admire which tell the story of the village through the centuries as well as the people who called it home.

As you wander through the town, keep an eye out for the famous Crooked House, thought to be the inspiration behind the nursery rhyme “There was a crooked man, who lived in a crooked house”.

Keen-eyed tourists might recognise the De Vere House on Water Street, which was used as a shooting location for the Harry Potter franchise.

Now, the house is a luxury accommodation where tourists can spend the night in four-poster beds, admiring the wooden beams that are an emblem of the style of architecture.

Recently revealed evidence from government investigators and court filings renewed questions about Southern California Edison’s claim that it operated its electrical grid safely before last year’s deadly Eaton fire.

Most records surrounding the fire’s cause have been sealed at the request of Edison and plaintiff attorneys. Yet new details revealed in court show that critical fire prevention equipment needed repair before the blaze and that vegetation under the tower where it ignited hadn’t been trimmed for years.

Los Angeles County and state fire investigators cited eight violations, including three of California’s criminal code, in their report released on Aug. 4. The details were blacked out as the district attorney continues an investigation into the devastating fire.

“We don’t believe there is a basis for criminal liability and we will cooperate with any review,” said Kathleen Dunleavy, an Edison spokeswoman.

The investigators said in the report that the Jan. 7, 2025 inferno, which killed 19 people and destroyed more than 9,000 homes and other structures, was caused by electrical arcing on an out-of-service transmission line in Eaton Canyon, which caused hot metal fragments to fall into the dried vegetation below.

Here are key takeaways from the investigative report and recent court filings by lawyers representing fire victims:

Edison didn’t turn off power on its Eaton Canyon transmission lines, despite emergency conditions.

Before the fire, the National Weather Service predicted a “life-threatening” windstorm, investigators wrote in their report released Aug. 4. Santa Ana wind gusts were forecast to reach speeds of 60 to 80 miles per hour, with peak gusts of 90 miles per hour in the mountains.

Earlier that day, Gov. Gavin Newsom declared a state of emergency because of an out-of-control fire that was burning homes in Pacific Palisades.

Despite those conditions, Edison kept power flowing through its high-voltage transmission lines built in the mountains above Altadena. Investigators noted that wind gusts at a weather station about a half-mile from the Edison tower where the fire started recorded gusts up to 68 miles per hour just before the first flames at 6:11 p.m. By 7, gusts were up to 85 miles per hour.

Dunleavy said the conditions did not meet the company’s internal standards for shutting off the lines.

“SCE was actively monitoring the transmission lines in Eaton Canyon on Jan. 7 and none of these lines met our de-energization criteria,” Dunleavy said.

Safety equipment on the out-of-service line was damaged before the fire but not fixed.

Edison had installed safety equipment at both ends of the out-of-service, unconnected transmission line in Eaton Canyon, including at the pylon known as Tower 208 where the fire ignited. But on the night of the fire, the equipment was broken, according to a June court filing.

The equipment was designed to send any unexpected power on the out-of-service line safely into the earth. The grounding equipment was necessary because the idle Mesa-Sylmar line ran parallel to 12 energized high-voltage lines, creating the danger of induction.

Induction happens when electromagnetic fields cause power on energized lines to jump to nearby idle equipment.

At Tower 208, a component known as a compression paddle was not securely bonded to the pylon, allowing debris to form and creating a dangerous air pocket, the filing said. The paddle was meant to be secured with four bolts, but only one bolt was used.

Government fire investigators also found broken equipment at one of the Mesa-Sylmar towers during a tour of the site with Edison after the fire. According to their report, investigators observed “the center conductor dangling free from the bridge section of the tower; it appeared that the remaining two conductors were not bored down to the tower bridge.”

The investigators said they discussed the equipment “abnormalities” with an Edison lineman and lawyer on the tour. “The Lineman said that they were not new and were like this last year; he was also unsure why they were not corrected when it was inspected,” the investigators wrote.

Asked why the equipment was not fixed, Dunleavy said, “We’re looking into that.”

She said the company strives to have a strong maintenance and inspection program and still was performing post-fire examinations and testing.

Edison kept the century-old, out-of-service Mesa-Sylmar line in place for decades, despite knowing idle lines could reenergize and spark fires.

Utilities have known for decades that unused lines can become energized from nearby electrified equipment through the induction process.

To teach employees about the danger, Edison created a training video featuring a 2007 incident in which a line known as the Kramer-Coolwater circuit was de-energized to allow work by a crew. The line became reenergerized while laying on the ground and started several fires, according to a retelling of the video in a July court filing by lawyers representing victims. Later that day, the crew’s foreman was injured when he touched the line.

Eleven years later, the Kramer-Coolwater circuit was unconnected from the grid, similar to the line in Eaton Canyon. Yet the line was electrified by induction from adjacent lines again in 2018, electrocuting a lineman who touched the conductor, the court filing said.

The company has said it kept the line in place even though it hadn’t carried power since 1971 because executives believed it could be used in the future.

Dunleavy said the induction event in the training video was different from what appears to have happened on Jan. 7 with the Eaton Canyon transmission lines.

“We had never seen an idle, de-energized transmission line cause an ignition,” she said.

Edison failed to clear vegetation below the tower where the fire ignited.

The investigators’ report said the fire ignited when electrical arcing on the idle line caused hot metal particles to fall into “the receptive fuel beds consisting of dry vegetation” below the tower.

The June court filing includes details from Google Earth images showing that the vegetation under Tower 208 had not been trimmed since at least 2021. Leaving the brush to grow violated Edison’s safety standard for “structure brushing,” the filing said.

Edison explained structure brushing in an article last year, describing how it cleared all vegetation around certain equipment, creating a 10-foot barrier to reduce the fire risk.

Asked why Edison let brush grow below the idle line, Dunleavy said, “We inspect and maintain all our equipment according to existing regulations and laws.”

Edison has sued L.A. County and other public entities, saying that their failures, including not clearing brush and delayed evacuation warnings, increased the fire’s destruction.

A fight over accountability

The first jury trial looking at whether Edison acted negligently in igniting the fire is scheduled to begin Jan. 25.

Later, state regulators will evaluate whether the company acted “prudently” in its actions related to the fire’s start.

Under a 2019 law brought by Newsom to protect utilities from bankruptcy, the companies automatically are deemed to have acted prudently if regulators sign off on their wildfire prevention plan.

Newsom’s safety regulators approved Edison’s plan just before the Eaton fire. That means Edison will be fully reimbursed for the billions of dollars in Eaton fire damages by a state fund that Newsom’s legislation created unless outside parties can prove Edison acted imprudently, negligently or worse.

“We continue to believe we will make a good faith showing of prudency,” Dunleavy said.

Newsom is working behind closed doors on legislation to further protect Edison and the state’s two other big for-profit electric utilities from the cost of wildfires caused by their equipment, the Times reported this year.

The three companies’ equipment ignited at least seven of the state’s 20 most destructive wildfires, according to CalFire. The Eaton fire was the state’s second-most destructive fire after the 2018 Camp fire, which killed 85 people and destroyed most of the town of Paradise. That fire, according to investigators, was ignited by an old transmission line owned by Pacific Gas & Electric.

The survivors of Eaton and other fires are fighting Newsom’s plan, saying it would leave California more vulnerable to utility-sparked fires.

“The real danger is what will happen to Californians if we further strip away these corporations’ financial incentives to prevent catastrophic fires,” Joy Chen, executive director of Every Fire Survivor’s Network, wrote in an analysis sent to state lawmakers this week.

“These are not innocent companies overtaken by climate change, nor is this an abstract problem of ‘wildfire liability,’” she wrote. “It is a continuing pattern of catastrophic corporate failure.”

PASSENGERS are facing travel chaos today after a train caught fire.

Trains running to Gatwick are being cancelled or delayed until further notice.

Passengers are being urged to check before they travel.

A train is on fire between Balham and London Victoria, with some lines between these stations closed as a result.

The Gatwick Express account posted on X: “A train is on fire between Balham and London Victoria.

“Some lines are closed between these stations until further notice.

“Gatwick Express services will still run but may be delayed due to congestion.

“Please check your train before you travel and allow extra time to reach your destination.”

Southern Rail also warned of disruption until 3pm.

“Both slow lines between Balham and Clapham Junction are blocked until further notice.

“We will be unable to stop at Wandsworth Common or Battersea Park until further notice.

“If you are travelling to or from these stations, you will need to use an alternative route for your journey.”

In an update, it said some trains are being delayed by at least half an hour.

Los Angeles Mayor Karen Bass’ terrible, horrible, no-good, very bad reelection campaign just got worse after Wednesday night’s debate in Sherman Oaks.

Bass came in as the clear favorite after toying with City Councilmember Nithya Raman the two times they faced off on the debate stage during the primary, as easily as the Dodgers sweeping the Angels.

Her Honor just needed to do more of the same: hail her own accomplishments, deliver well-timed zingers and keep as cool as a cucumber while baiting Raman into self-immolation.

Bass did none of that, while Raman stepped up the way she needed to.

This time, the challenger offered concrete answers instead of word salads. She mostly stuck to the allotted time limits while Bass repeatedly whined that she wasn’t given enough time. Raman effortlessly turned the mayor’s rhetorical traps around like Bugs Bunny twisting Elmer Fudd’s rifle right in his face.

Take the moment when Bass pointed out that Raman had missed the second-most votes among councilmembers during her six years in office. Raman responded that she missed many meetings while representing the city on the South Coast Air Quality Management District and other governmental boards. Bass’ clap-back — that Raman’s colleagues also had other official responsibilities yet “they find their way to work” — drew “ooohs” from the audience at the debate, put on by the Sherman Oaks Homeowners Assn.

If this were still the primary, Raman would have flustered her way to a non-answer. This time, she calmly said that she must not be such a bad councilmember, since Bass had appointed her to those boards.

“Well, we really need to look at that,” Bass stammered before asking Raman if she was “getting ready to resign” from them.

“I’m sorry?” Raman asked off mic as Bass challenged her to step down from all her boards. “No,” Raman then said firmly before shrugging and letting the moderator move on to the next question.

The moment was par for the mayor’s night.

Again and again, Bass went after Raman in the pettiest, most personal ways. She kept mocking the MIT graduate as a clueless egghead with no idea what’s going on in the city, stating twice that Raman governed as if L.A. were “an academic institution” — a line that sounded like a MAGA talking point and that was originally trotted out by Councilmember Imelda Padilla.

Bass tried to paint Raman as a member of an ineffectual city establishment, not a newcomer, which fell flat, considering that Bass has held one elected office or another for 22 years while Raman has been in politics only since 2020.

Bass frequently resorted to her trademark nervous laughter and repeated obviously crafted lines with all the enthusiasm of someone gulping down cod oil. Her furrowed brow and exasperated looks, which she had effectively used in previous debates, made her come off as embittered, tired and unable to defend the indefensible mess that has been her first term.

At one point, the mayor even compared street taco vendors to homeless encampments, with both supposedly disrupting the fabric of a well-run city.

Somewhere, Jonathan Gold is shaking his head in disgust.

“You have lots of plans and lots of ideas but have done very little,” Bass told Raman at another point.

And what have you done, Mayor Bass?

L.A. Mayor Karen Bass speaks with a woman after the end of a mayoral debate against challenger Nithya Raman in Sherman Oaks.

(David Butow/For the Times)

I’ve really tried to like Bass. Her trajectory from South L.A. activist to nonprofit founder to Sacramento, Washington and City Hall is impressive and important. Yet when Angelenos needed her to rise and succeed as their city faced one crisis after another during these past four years, Bass stumbled and stumbled again. Her flop of a debate performance left her sounding like someone with no vision or kindness — career suicide for someone who has made her reputation on both traits.

At this point, the architects of Bass’ campaign need to burn sage to drive out bad spirits or just bow out altogether. Any time something could go wrong, it has.

Bass placed first in the primary with 34% of the vote — an abysmal number for a Democratic incumbent in a deep blue city. Her campaign’s cynical gambit to boost washed-up reality TV star Spencer Pratt into the general election, because he’d be an easier opponent than Raman, failed. The Lineage fire in Boyle Heights brought back memories of the deadly Palisades inferno, angering a voting bloc Bass desperately needs — Latinos.

Then came news this week that a poll the Bass campaign had promoted, claiming that she held a commanding lead over Raman, turned out to be fake. Bass came out looking like someone incapable of overseeing paint dry, let alone running America’s second-largest city.

And now, this debate.

The audience, which was heavily pro-Bass, eventually started applauding more and more of Raman’s responses. Bass, desperate to trip up her opponent, talked over her so much that the councilmember responded with the line of the night and possibly the race:

“You gotta let me answer, Mayor Bass. This is my time.”

Raman still faces an uphill battle. Nearly all of the city’s power structure — elected officials, labor unions, the Los Angeles Police Protective League, business owners and even the three other democratic socialist councilmembers — has endorsed Bass. The mayor has outpaced Raman in fundraising. Raman has to win over voters who supported Pratt’s conservative stances while not alienating her progressive base. She did herself no favors with the Democratic Socialist of America’s local chapter, which didn’t endorse her in the primary and will decide next week whether to endorse her in the general election, by stating that the city needs to maintain the current size of its police force.

But in Wednesday night’s debate, she offered voters a distinct choice between how she would run L.A. and how Bass has.

Councilmember Nithya Raman speaks with staff and supporters after a mayoral debate with incumbent Karen Bass in Sherman Oaks.

(David Butow/For the Times)

All the mayor could sputter in her closing remarks was that Raman “does not have the support of [any] of her colleagues” — yet another line she had repeated ad nauseum.

When it was her turn, Raman said she keeps hearing from residents “that this city feels rudderless.”

“I have news for you, Angelenos. You’re right,” she continued. “No one is in charge right now.”

Then, instead of launching another fusillade against Bass, Raman went for something few people associate with L.A. nowadays:

Hope.

“You have every right to expect more from your city,” Raman proclaimed, her voice strong and clear. She urged Angelenos to “raise our expectations” of what’s possible and strive for a city that’s “affordable, functional, safe, joyful, ambitious.”

A few months ago, that would have sounded like the delusional ramblings of someone with no chance at winning. After tonight’s debate, Raman seems like L.A.’s final, best chance.

SYDNEY Sweeney has shown off her bra from her new Syrn line to commemorate its release.

The Euphoria star celebrated “launch day” with a clip of herself wearing several articles from her new Campus Crush collection.

In the video posted on Syrn’s official Instagram page on Wednesday, Sydney, 28, briefly flashed her chest in a white Plot Twist Bralette while changing in her trailer.

She filmed herself putting on a white Victory Lap Baby Tee, paired with navy blue Booty Call Knit Boxers.

Sydney tousled her long blonde hair in loose waves while posing and smiling at the camera.

“IT’S LAUNCH DAY. Shop the new Campus Crush collection now,” the post’s caption read, while noting each piece of her new wardrobe.

WILD ROLE

Sydney Sweeney goes totally nude for steamy sex scene in spine-tingling thriller

BERRY HOT

Sydney Sweeney busts out of pink bra as she licks her blueberry Erewhon smoothie

The actress has debuted multiple new collections from her lingerie brand, Syrn, in recent months.

Earlier this month, The Housemaid star promoted the company’s new Romantic line, featuring various lace bras and underwear.

She also dropped a racy black lingerie set for her Seductress line, and an array of underwear, bras, and loungewear from her Playful collection, Small Town Girl.

Sydney enlisted model Amélie Tremblay to help her promote the new Playful pieces, sharing videos and photos of the pair modeling matching sets in the mirror.

The ladies also captured themselves having an impromptu dance session and Sydney playfully smacking Amélie’s butt multiple times.

Sydney shared similar posts early last month, showcasing her breasts, bare butt, and washboard abs in numerous pieces from the collection, which launched on July 16.

She had been pulling double duty, working on her Syrn brand, while in Australia filming a new project.

Her boyfriend, Scooter Braun, also joined her on set.

Fans were reminded of Sydney’s previous starring role in the erotic thriller The Voyeurs when the film landed on Amazon Prime in May.

The spine-chilling movie premiered in 2021, and involved some of Sydney’s raciest scenes, as she portrayed an optometrist who becomes dangerously obsessed with spying on her neighbors.

Sydney’s character, Piper, strips down completely naked in the film and gets intimate with her on-screen lover, among other raunchy moments.

The White Lotus star has since starred in many other promiscuous scenes in her following TV and film roles.

Her most talked-about role was playing Cassie Howard in HBO Max’s Euphoria.

The latest season showed Sydney wearing scandalous outfits, including dressing like a sexualized baby and a puppy, in an effort to increase Cassie’s OnlyFans following.

Sydney and the show’s creator, Sam Levinson, faced a slew of backlash for her X-rated behavior on camera; however, an insider exclusively told The U.S. Sun that the actress had “no shame” and “laughed” at the critics.

HAYDEN Panettiere’s Nashville mum said the star’s “inner demons were too much to bear” as she broke her silence with a poignant tribute.

The beloved Heroes and Nashville actress was found “unresponsive” at a luxury Airbnb in Greenville, South Carolina, on Sunday.

Sylvia Jefferies, 57, who featured as Jolene Barnes, the mum of Hayden’s character Juliette, said her heart was “shattered” by the news.

In a post shared on social media she wrote: “I’ve had to take the day to let the idea that Hayden is not with us, wash over me. 

It comes as…

• Tributes have been paid by Hollywood celebrities including Cruel Intentions actress Selma Blair and Sister Sister star Tia Mowry
• In a heartbreaking final interview Hayden opened up about her struggles but declared: ‘I have a lot more life left to live’
• Hayden’s tragic final post shows the actress smiling with close pal as she hailed ‘good times and good friends’
• The star told fans to ‘be brave’in her last public appearance while promoting her new memoir

FINAL HOURS

Hayden Panettiere investigation ‘ongoing’ as autopsy shows ‘no signs of trauma’

DAD’S PAIN

Hayden Panettiere planned to visit daughter after revealing ‘incredible bond’

“At times, Hayden was not easy to be around. I remember calling her a downright tornado. But she was our tornado.

“The sun that appears, the light mist that begins, the rain that gets heavier, the swirling of everything around her, and then the gentle tapering rain returns, along with the calm and sun and light in her eyes, and the giggle in her voice.

“She had an incredibly bright future ahead of her, although her inner demons were at times too much to bear.”

Hayden, who struggled with opioid and alcohol addiction, was described by 911 dispatchers as suffering from a cardiac arrest and suspected overdose.

Narcan, a nasal spray used to reverse the effects of opioid overdoses, was found on the mattress of the apartment where she was staying, TMZ reported.

Authorities have not determined that an overdose caused Hayden’s death, and the coroner’s findings remain pending.

Sylvia’s moving tribute was posted alongside pictures of the pair on set as well as messages from Hayden that addressed her as “mama”.

She said the pair reconnected after she read Panettiere’s memoir, This Is Me: A Reckoning and had “plans to see each other”.

“I was so proud of her for sharing the real Hayden, something that had to be excruciatingly painful for such a gentle soul”, Sylvia added.

The book, released in May 2026, chronicled her battles with addiction and mental health, as well as abuse, family loss and her long road to recovery.

“You are engaged in a cycle of growth until the moment you take your last breath”, she wrote, in a passage that has a haunting new meaning after her death.

Hayden was travelling with on-again, off-again boyfriend Brian Hickerson over the weekend, US media has been reporting.

The pair had been spotted flying out of Los Angeles on Saturday.

They had a tumultuous relationship from 2018 to 2020 before Hickerson was arrested, convicted and jailed for domestic abuse against the actress.

He served only one day of a 45-day jail term and the couple reconnected in 2021 before reportedly getting into another physical spat at a bar in West Hollywood.

In March earlier this year the pair were snapped on their way through LAX.

Hayden reportedly kept some of her friends “in the dark” about reconnecting with Hickerson before her sudden death.

“If Brian was back in her life, then it was something she was hiding because she wasn’t speaking about it with many of her friends,” a source told Page Six.

“If you’ve gone through some dark times with people, and spoken about it, then there can be shame if you get back together with that same person,” the insider said.

The star’s heartbroken dad Skip Panettiere was the first to confirm the heartbreaking news.

He said: “It is with profound sadness that we share the tragic passing of our beloved Hayden.

“She was an incredible light and a force of nature who brought immeasurable love and joy to all who knew her – and to the millions who watched her on screen.”

Hayden’s devastating death means Skip’s two children have both died within three years of each other, after Hayden’s brother Jansen died at the age of 28 from “an enlarged heart” in 2023.

KANSAS CITY, Mo. — It did not take long for Ty Simpson to acclimate to the NFL.

In his pro debut, the Rams rookie quarterback passed for two touchdowns and made no major errors in a 20-12 preseason victory over the Kansas City Chiefs on Saturday at Arrowhead Stadium.

“I definitely felt more comfortable than I ever have in a game,” said Simpson, who completed 21 of 25 attempts for 190 yards.

It was a much-awaited first game for Simpson after the Rams shocked fans and much of the NFL by picking him so high in the draft after he started only 15 games for Alabama.

Fourth-year pro Stetson Bennett played the first two series — the first against many Chiefs starters — and led a field-goal drive on the second one before Simpson came on with 11 seconds left in the first quarter.

Simpson’s first series ended with him bobbling a high snap, and then making a smart decision to throw the ball out of bounds. From that point on, offensive coordinator Nate Scheelhaase called play-action bootlegs and other rollouts that enabled Simpson to find receivers, many of them wide open.

“Once that first drive kind of got done, I was like, ‘All right, well yeah, this is just like playing in the backyard,’” Simpson said.

Simpson’s parents and brother were in attendance, and he credited family, coaches and teammates for helping him relax and excel. He finished two second-half drives with short touchdown passes to running back Dean Connors.

“I thought Ty had great command all day,” coach Sean McVay said. “It was a great step in the right direction for him.”

During training camp and recent practices, Bennett took first-team snaps when starter Matthew Stafford was held out. He took second-team snaps when Stafford practiced.

So he appeared to enter the game as the presumptive frontrunner to back up the reigning NFL most valuable player.

Rams quarterback Ty Simpson celebrates after a touchdown against the Chiefs on Saturday.

(Reed Hoffmann / Associated Press)

Does Simpson’ performance change anything?

“We’re going to continue to evaluate it like anything else,” McVay said.

Simpson is not getting caught up in whether there is a true competition.

“That’s a head-man decision and executive decision,” he said. “I just know that I’m happy to be here and I’m working to make sure that I do anything the team needs me to do.”

Other takeaways from the Rams’ preseason victory:

Stetson Bennett steady in start

Rams quarterback Stetson Bennett passes in the first quarter against the Chiefs on Saturday.

(David Eulitt / Getty Images)

Bennett, a fourth-year pro making his seventh preseason start, completed four of six passes for 38 yards and led a field-goal drive before giving way to Simpson.

The first series ended when the Chiefs broke up a third-down pass.

During the second series, Bennett completed four passes during a 13-play, 73-yard field-goal drive that stalled at the six-yard line after the Chiefs broke up his third-down pass to rookie tight end Max Klare in the end zone.

“Stetson did a nice job,” McVay said. “He came in and did a nice job orchestrating a nice drive on the second series.”

Offensive lineman Keagen Trost injured

If the Super Bowl-favorite Rams have a potential weakness, it’s offensive line depth.

They selected former Missouri standout Keagen Trost in the third round with the hope that he could provide versatility. And with left tackle Alaric Jackson possibly facing a suspension if the NFL determines that he violated the league’s personal conduct policy, Trost could be counted on immediately.

Trost started at right tackle, but he left after two series because of a hamstring injury he apparently sustained as part of the protection unit for a Rams field-goal attempt.

“He was pretty bummed,” McVay said, adding that Trost would undergo tests to determine the severity of the issue.

Receiver Mario Williams also sustained a hamstring injury on a kickoff return, McVay said.

Tight end Max Klare the go-to receiver

Chiefs wide receiver Nikko Remigio is tackled by Rams safety Alex Cook during the first half Saturday.

(Reed Hoffmann / Associated Press)

Max Klare, a second-round draft pick out of Ohio State, was targeted eight times, and caught seven passes for 37 yards.

Klare is part of a loaded position group that includes veterans Tyler Higbee, Colby Parkinson, Davis Allen and second-year pro Terrance Ferguson.

But Klare showed skills that could help the Rams this season and beyond.

Receiver CJ Daniels, who made multiple plays during training camp, caught two passes for 18 yards.

Defense holds Chiefs to field goals

Outside linebacker Desjuan Johnson, a rotational player last season, was the most notable member of a defense that played a few series against quarterback Justin Fields and the rest of the game against Garrett Nussmeier and Chris Oladokun.

Johnson sacked Nussmeier in the third quarter. Rookie lineman Tim Keenan also had a sack.

Safety Nick Andersen had a team-best nine tackles for the Rams.

Harrison Mevis picks up where he left off

In his first game under new special teams coordinator Bubba Ventrone, Harrison Mevis kicked field goals of 25 and 40 yards.

Ethan Evans averaged nearly 61 yards for four punts.

Smith returned three punts for 52 yards.

Spectrum owner Charter Communications is nearing the finish line in its long-awaited $34.5-billion purchase of Cox Enterprises to form the nation’s largest internet and cable television company.

California’s Public Utilities Commission is scheduled to vote next week to approve the merger that would bolster Southern California’s dominant provider with more than 5 million customers. Securing the approval of California regulators — the deal’s final hurdle — has been a slog as federal officials gave Charter their consent months ago.

Customers of privately held Cox, the Atlanta-based company that serves Rancho Palos Verdes, Rolling Hills Estates, Las Vegas and large parts of Orange and San Diego counties, would be switched to Spectrum service. Charter is the industry leader, providing Spectrum internet, phone and cable TV packages for Los Angeles, Riverside, San Bernardino and Ventura counties.

It’s been more than a year since the companies unveiled their proposed union, and they hope to combine operations this month. But flaps have flared up in the last lap.

Public interest groups have argued that the PUC’s proposed settlement with Charter doesn’t go far enough to ensure long-term affordable internet for low-income residents or accommodations for customers reeling from natural disasters such as last year’s Eaton and Palisades fires.

In addition, advocates have asked utilities commissioners to demand that Charter commit to fostering workplace diversity, equity and inclusion among its proposed 9,000-member workforce in California. Such programs have been under siege since President Trump returned to the White House.

“State regulators like the CPUC have an important role to play — they have a voice and leverage if they choose to use it,” said Jason Solomon, director of the National Institute for Workers’ Rights, a Bay Area group that is lobbying for Charter to renew its commitment to a diverse workplace.

“It’s important that California stand up for its own laws, policies and values,” Solomon said.

A Spectrum truck in New York City.

(Star Max/IPx)

The five-member commission is set to vote on the Charter-Cox merger Thursday. The panel will consider two competing proposals; both would allow the merger to go through with various conditions.

Charter years ago pledged to create a diverse workplace but scaled back its public statements amid Trump’s vocal demands that companies dump DEI programs. Trump’s Federal Communications Commission chairman, Brendan Carr, also has championed eliminating diversity programs, saying they are discriminatory.

The FCC in February approved Charter’s proposed purchase of Cox’s residential cable, commercial fiber, cloud and information technology businesses. To win Carr’s approval, Charter agreed to “new safeguards to protect against DEI discrimination,” according to the FCC.

Charter is in a bind. It disavowed diversity efforts to win the FCC’s blessing but now is facing calls in California to embrace such commitments.

“In a state as diverse as California we should protect diversity in the workplace,” said Jessica J. González, co-chief executive of advocacy group Free Press. “We have a responsibility to stand up to what’s been going on in the federal government, and in the Trump administration, to force companies to roll back their policies.”

In its public filings, Charters said it would reach out to diverse suppliers and work with business groups, including the Women’s Business Development Council, the California LGBTQ Chamber of Commerce, the African American Chamber, the California Hispanic Chamber and the Cal Asian Chamber.

“This transaction will be good for consumers, community leaders, and businesses across California as it will provide them with lower prices, greater value, better service, and support from Spectrum’s 100% U.S.-based employees,” the Stamford, Conn. company said in a statement.

Concerns heightened among activists after one of the two proposed settlements, hashed out between Charter and Commissioner Matthew Baker, the commission’s Public Advocates Office and the California Emerging Technology Fund, failed to include diversity efforts.

Advocates viewed Baker’s proposal as weaker on broadband access provisions too, including commitments to provide low-cost internet for disadvantaged residents and communities that lack service.

“For us, it’s really about making sure everyone in Cox’s and Charter’s service territory benefits from this transaction,” said Paul Goodman, counsel for the Berkeley-based Center for Accessible Technology.

“We want to make sure that communities that have been historically overlooked get the same benefits from the transaction as everyone else,” Goodman said.

For example, a coalition of advocacy groups is seeking to prevent Spectrum from tacking on equipment charges for customers on low-income plans.

Commissioners will be asked to select from Baker’s draft decision or last month’s proposal from the agency’s administrative law judge, Jamie Ormond. Advocates are urging the panel to adopt Ormond’s version because it contains more compliance conditions, including mechanisms to foster an inclusive workplace.

Commissioners have “a statutory duty” under the state’s utilities code “to deny the transaction outright rather than approve a weaker deal,” the advocates argued in a recent filing.

Solomon’s group is pushing for an “organizational infrastructure for equal opportunity compliance,” including reporting compensation and promotion data for Charter’s California workforce and pay equity audits.

The state has required diversity measures before — despite such initiatives being out of favor in Washington. In January, the commission approved Verizon Communications’ purchase of Frontier Communications.

In that proceeding, Verizon pledged to “further California’s public policy goals of diverse supply chains and workforces, including a $10 million partnership with the California State University system,” the PUC said.

Under both Ormond’s and Baker’s proposals, Charter would be required to offer affordable broadband to low-income residents, including California LifeLine service tiers. It would have to sell stand-alone broadband plans for five years, although advocates would like to see that extended to 10 years.

The company has agreed to spend at least $275 million to upgrade its California network and complete its 1-gigabit service capability across its legacy service areas within three years.

Charter also agreed to invest at least $30 million in customer outreach initiatives, such as digital literacy training and device access for low-income communities. The company also is being asked to provide free broadband and Wi-Fi service for about 50 eligible institutions, including schools, libraries and community centers for several years.

Charter was criticized after the January 2025 fires for charging fees for equipment that burned, said Natalie Gonzalez, director of Digital Equity Los Angeles, one of the advocacy groups that is asking for Charter to “improve disaster response and customer service standards … during life’s most challenging moments.”

Charter pushed back on that contention, saying it helped residents in the burn areas.

“We opened all our wifi hot spots to anyone (non Spectrum customers) and were deeply involved in the restoration efforts,” the company said in its documents.

The advocates, including Digital Equity LA and the California Alliance for Digital Equity, compiled evidence to help commissioners determine whether the merger was in the public interest.

Should the deal go through, Cox subscribers will soon see changes. Charter plans to roll out its Spectrum products and fees to Cox customers next month.

Subscribers can opt for their existing pricing or switch to a Spectrum bundle that includes such apps as Disney+, Hulu, ESPN and Paramount+.

Charter has also said it would offer Cox subscribers a year of free service when they switch their cellphone carrier to Spectrum.

The Charter name will be dropped in one year and the combined company will become Cox, although consumer products will keep the Spectrum brand.

The switch is because the Cox family — descendants of an Ohio press baron who bought his first newspaper in 1898, began acquiring cable systems in 1962 — will become the firm’s largest shareholder group, with about 23% of the stock.

In a recent earnings call, Charter Chief Executive Chris Winfrey told investors the combined company would have nearly 37 million customers nationwide.

It expects to generate $67 billion a year in revenue and about $28 billion in earnings before interest, taxes, depreciation and amortization.

ENGLAND’s longest zip wire has finally opened to visitors after more than 15 years in development.

The new attraction boasts sweeping views of an iconic national park.

Honister Slate Mine, in Cumbria, has revealed a brand new zip wire attraction, said to be England’s longest.

Visitors will now be led more than 2,000 feet up to the summit, before soaring 1,200 metres across from Honister Crag to the valley below.

Set amid sweeping views of the Lake District and reaching speeds of up to 65 mph, the record-breaking ride follows the old Lancaster aerial flight that once carried Honister slate.

For more than a century, the area housed a historic slate mine, built on the foundations of more than 450million year old Westmorland Green slate.

STAY HOME

Brits are swapping holidays abroad for staycations due to rising costs

NO GO

The £75million indoor tropical waterpark that would have been the biggest in Britain

The site briefly closed in 1989 before being reopened in 1997 by Mark Weir, who aimed to develop the area as not only England’s last working slate mine, but also an adventure site.

Weir’s sons, Prentice and Piers Wilkinson Weir, who now run the business, told the Cumbria Crack: “As we celebrate 30 years since our dad bought Honister, we’re proud to continue building on his vision while looking firmly to the future.

“This zip wire represents our commitment to investing in Honister, creating unforgettable experiences for our visitors, supporting the local economy and ensuring this incredible place continues to thrive for generations to come.”

Taking more than 15 years to develop, the zip wire will also continue to transport slate from the mountain as it was originally intended to do.

Tickets start from £110 for the 60-second experience, although only a limited number of riders will be able to go this year.

Other attractions at Honister include The Infinity Bridge, a 190m high-wire bridge strung between two mountains, and Via Ferrata, a 2,000ft semi-vertical ascent.

The crime series, which dropped on Netflix today, is perfect for fans of gripping police dramas like Line of Duty and The Wire.

Netflix fans are urged to tune into ‘the best cop drama’ ever which is leaving viewers ‘glued until the end’.

The ‘excellent’ series, which comes from legendary Law & Order creator Dick Wolf, quietly arrived on Netflix today.

The police show is perfect for fans of Line of Duty and Blue Lights, while it has already been called ‘as good as’ US procedurals like The Shield and The Wire.

The popular drama is also a part of a larger franchise created by Wolf, which follows the fire fighters, police officers and medical staff working in the busy heart of Chicago, USA.

Named Chicago P.D., the 2014 show is the second installment of Wolf’s Chicago franchise after Chicago Fire (2012) and has since been followed up by Chicago Med (2015).

Chicago P.D. holds an impressive 8.1/10 score on IMDb and is set to return for a 14th season later this year.

The cast is led by the charismatic Jason Beghe, who plays fan favourite character sergeant Hank Voight.

The synopsis explains that the show “follows the lives of the personnel of the fictional 21st District, which houses both uniformed officers and the department’s elite Intelligence Unit as they fight every day to keep the city of Chicago, Illinois safe”.

Other cast members include Jon Seda as Senior Detective Antonio Dawson, Sophia Bush as Detective Erin Lindsay, Jesse Lee Soffer as Senior Detective Jay Halstead, Patrick John Flueger as Officer Adam Ruzek and Marina Squerciati as Detective Kim Burgess.

Taking to the reviews section of IMDb, fans shared their thoughts on Chicago P.D.

One person wrote: “Easily the best cop drama I’ve ever seen. I love this show because it’s so smartly written. There are none of those yelling at your TV moments when the cop goes in without backup or lets his guard down at the worst moment or tries to be a hero all by himself. In this show the characters act like a real cop should.”

Get Netflix free with Sky

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

£5.99

£0

Sky

Get the deal here

Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things and The Last of Us.

Another agreed: “Of all the police shows, Chicago PD is the best show I’ve ever seen. Chicago PD captures your attention from the start and keeps you glued to the show until the end.”

A third echoed: “Excellent!! Best ever crime drama. Writing and acting are exceptional. Thank you NBC. I am totally involved…”

Another fan compared the show to other highly-rated police procedurals, commenting: “I put PD in the same category as Streets of San Francisco, Hill Street Blues, The Shield and The Wire to name a few. That is the best TV available.”

However, not everyone is a fan, with one person calling it “cheap entertainment” and another complaining: “It started off brilliant, but last few years it’s gone down hill.”

Meanwhile, some viewers took the time to praise Beghe’s performance, with one enthusing: “The best show on television to me. Jason Beghe who plays Sgt. Hank Voight is like no other. He brings the whole show together.”

Another concurred: “Best show on TV! There are many good cop shows on tv but this one never fails. It has amazing actors and always entertaining plots. Beghe is my favorite!”

Chicago P.D. is available to stream on Netflix now.

Taiz, Yemen – Um Yousef knew that living on the front line in Taiz was dangerous. The area had been quieter for the past few years thanks to a general de-escalation of the war in Yemen, but it still lay between territory controlled by Yemeni government forces and Houthi rebels.

Destroyed buildings mark the city’s front line areas, evidence of the brutal fighting that has lasted for more than a decade.

But Um Yousef felt that she didn’t have a choice. A single mother of four children in her 40s, she couldn’t afford the typical market rate of about $130 for a three-bedroom house in the central Yemeni city. Her husband died years ago while working abroad, so she was the sole breadwinner for the family in a country where poverty has increased sharply since the war began more than a decade ago.

“There is a huge demand for houses, and all my efforts failed while I was living in a single room with my children,” recalled Um Yousef, who asked to use a pseudonym for security reasons. “It was very difficult to stay in that one room.”

After eight months of moving from one area to another, and even searching on the outskirts of Taiz, she ultimately decided that her only option was a home near the front line. Yes, it was dangerous, but with little money coming in, the home she found for about $13 a month couldn’t be ignored.

In January 2025, the family made the move. Two months later, her 11-year-old son came into the house from playing outside with blood pouring out of his mouth – he’d been shot.

Sniper danger

“I couldn’t understand what happened – I didn’t hear any gunfire,” Um Yousef said.

She still doesn’t know the exact cause of the shooting, but many of the casualties near Yemen’s front lines are the result of sniper fire.

Taiz is particularly dangerous in this regard. The front line going through the city is one of the few in the country in an urban area. The city’s geography, hilly and with a mountain overlooking it, offers numerous vantage points for snipers.

A United Nations monitoring project found that 66 percent of all civilian casualties from sniper shootings in Yemen last year were in Taiz. Of the 21 cases recorded, nine were children.

Thankfully, Um Yousef’s son’s injuries were not as serious as first feared. After being immediately taken to hospital, he received medical treatment and was discharged the next day.

The incident woke Um Yousef up to the reality of where she had brought her children to. But she still can’t afford to move. Instead, she has had no choice but to stay and learn ways to reduce the risk.

“Residents here take precautions I wasn’t aware of, like turning off lights at night in rooms visible from a distance, and keeping children from playing in open areas,” she explained. “They have to play behind the houses instead. I’m aware of these things now and follow them to keep my children safe.”

Damaged homes

Taiz governorate is the most populous in Yemen, with a population of almost 4.5 million and more than 400,000 internally displaced people, according to Khalid Alwan, director of the local statistics office.

“More than 10,000 houses were completely or partially damaged by the conflict in Taiz, and there are many more we couldn’t reach to count,” Alwan told Al Jazeera. “Reconstruction is expensive, and most residents cannot afford to repair their homes even if they are in safe areas. This further worsens the housing crisis in the city.”

He noted that while some humanitarian organisations have repaired partially damaged homes in safe areas, these efforts are a drop in the ocean compared with the sheer number of affected properties.

The Nahda Makers Organisation (NMO) is one such group rehabilitating homes in several Yemeni governorates. To date, NMO has repaired 2,389 houses in Taiz, Lahj, Hodeidah, Aden and Abyan governorates – the vast majority of them in Taiz.

While this initiative has helped some families return to safe areas, the overall need remains overwhelming, with an estimated 4.8 million displaced people across the country still unable to return.

Housesitting

Mohammed Saeed has been living in the al-Thawrah neighbourhood of Taiz near the front line since 2023. He believes the war has taken a heavy toll on society, with soaring rents being one of its worst consequences.

“I’m not happy living here as we frequently hear the sounds of gunfire at night. Even if we aren’t targeted, just hearing it is enough to terrify us,” the 53-year-old told Al Jazeera. “In the beginning, my children couldn’t sleep when they heard the shooting, but now they’ve adapted. Adapted to what? Adapted to living in a dangerous area.”

Mohammed, who is unemployed and cannot afford rent, lives in a house for free in exchange for guarding it. Because the neighbourhood is near the front lines, many residents here do not pay rent.

“Nowadays it is calm, but if there is any escalation, we will be trapped in the crossfire,” Mohammed said. “I hope I can find a job that enables me to rent a house in a safe place and leave this one.”

Khalid Abdulhadi, 46, is one of the people who could afford to leave. He was born in the al-Kamb neighbourhood of Taiz city and owns a house there. However, he fled during the heavy fighting in 2018 and has not returned, as the proximity to the front line makes it far too unsafe.

“It is not the right decision to return and live in a dangerous area,” he told Al Jazeera. “Even though I am paying rent while owning my own home, going back could cost me my life.”

Khalid, who works as an accountant for a local company, said some of his neighbours did return and one of them lost their son, shot dead by a sniper.

He has allowed a family he knows to live in his house free of charge, knowing that they are impoverished and willing to guard the property. But he has decided to stay far away.

“I would prefer to live in a safe camp for displaced families rather than a dangerous house,” he said.

“We lost everything during this war; our lives are all we have left, so we must protect them.”

PHILADELPHIA — For years, as stars such as Shohei Ohtani and Bryce Harper pleaded for the chance to play in the Los Angeles Olympics, and for Major League Baseball to back up its talk of growing the game internationally by participating in the world’s greatest sporting festival, the league was reluctant: Would the owners truly benefit from shutting down the season for a week and lending their best players to an event beyond their control?

Now that MLB is on board, the league wants the players to make an extraordinary commitment to back up their talk: If you’re selected to play in the Olympics, you must play. Or else.

The “or else” is not rhetorical. If a player is not on the injured list and is selected for the Olympics but declines to participate, the player would be subject to fine and/or suspension. In addition, the players would be ineligible to play for the first 14 days when the season resumes after the Olympics, according to a proposal from the commissioner’s office to the players’ union and obtained by The Times.

Under a tentative MLB plan, the first half of the 2028 season would end on July 9, with the All-Star Game on July 11. The Olympic baseball competition would start on July 13, with the second half of the season starting on July 21.

So as to discourage placement on the injured list as a way to avoid playing in the Games, a player selected for the Olympics but on the injured list as of July 9 would be excused, but he could not be reinstated to his team’s major league roster until Aug. 4, even if he had recovered from the injury before then.

“We went down the road on LA 2028 because we saw it as a unique opportunity to market the sport with our very, very best players,” Commissioner Rob Manfred said Tuesday in a meeting with the Baseball Writers Assn. of America.

“It is a disruptive undertaking for us … If we’re disrupting an entire season and we’re going to undertake that effort, we want our very best out there, so that people see how great our game really is.”

The league also does not want to undermine its All-Star Game, and it is reasonably foreseeable that some players might wish to skip the All-Star Game for a two-day summer break if they are going to play the next week at the Olympics.

In that scenario, under its proposal, the league would have the right to declare the player ineligible for the Olympics, and the player would be subject to fine and/or suspension as well as ineligibility for the first 14 days of the second half.

Bruce Meyer, the executive director of the players’ union, said the MLBPA plans a counterproposal.

“They want to make it mandatory for players who are selected to appear at the All-Star Game and the Olympics,” Meyer said Tuesday. “The proposals that they made in terms of what the discipline would be, the ramifications if a player doesn’t want to do that, in our view, are extreme.”

To use a Dodgers example, Yoshinobu Yamamoto was selected for this year’s All-Star Game, but Dodgers manager Dave Roberts said last week that he would not pitch.

Given that situation in 2028, if Yamamoto wished to pitch for Japan, he would have to be available for the All-Star Game. If not, Japan could lose him for the Olympics, and the Dodgers could lose him for his first two starts of the second half.

Meyer said the union is in “a very early stage of discussions” with the league. It is unclear how much time might be needed to resolve the issue, as well as what Meyer called “travel and accommodation” issues, which involve LA28.

It also is uncertain how long MLB would be willing to wait before committing to an All-Star site and date, although the league moved the 2021 game from Atlanta to Denver three months before the game date. San Francisco is expected to host the 2028 game, in large part because Los Angeles is a short flight away for an Olympic competition that would start two days later.

It is clear, however, that the league is getting tired of not always securing participation from marquee players in marquee events. The “you can’t pitch in the All-Star Game if you pitched on the previous Sunday” rule was intended to protect pitchers.

“It’s clear to me that teams are managing their pitching in a way to take advantage of the Sunday pitcher rule,” Manfred said. “I do think it’s really important that we always re-evaluate our approach to the All-Star Game in order to get the very, very best players that can participate in that game.”

The World Baseball Classic was a smashing success this year, even as the United States started a rookie pitcher in the championship game. Do we really need to mandate player participation in the Olympics, especially since so many great players already have said they want to be there?

“The WBC takes place at a point in time that the players are just beginning to ramp up for the season,” Manfred said. “There’s a whole host of reasons why, at that point in the calendar, players might not be ready to play.

“In contrast, the schedule for the Olympics is going to cover days that players otherwise would be playing in major league games — if they’re not on an injured list, they’d be out there playing. That is a huge difference.”

In another column, we could argue the merits of moving the final round of the WBC — the semifinals and championship game — to July, when players “otherwise would be playing in major league games.” That would grow the game, too.

But that is for another day. It would be absurd for MLB to miss out on the global marketing platform that is the Olympics. The issues MLB raises are legitimate; the solutions need not be so draconian.

The opening ceremonies in Los Angeles take place two years from Tuesday. The Olympics have taught us this about boycotts: No matter how worthy the cause, no one pays attention once the Games start. The Soviet Union boycotted the L.A. Games in 1984, and we had a grand time without the Russians.

No one cares if you’re not there. In MLB, a star-studded core wants to be there. Seize the moment.

When the cast members and creators of the 1990s “X-Men: The Animated Series” reunited at the 2019 Hill Country Comicon in New Braunfels, Texas, they went out for dinner and collectively yearned to one day work together again.

“We said, ‘Let’s put it to the universe: Universe, why don’t you manifest that somebody buys the rights to the show and decides to reboot it and bring us all back.’ We toasted the universe and here we are,” recalls Canadian actor Lenore Zann, the voice of the irresistibly tough Rogue, during a recent video call while visiting Los Angeles.

The result of that metaphysical request is Marvel’s “X-Men ’97,” which debuted in 2024 on Disney+, not as a reboot but as a continuation of the original 1992 classic animated show.

The first season of this new era for the X-Men received an Emmy nomination for animated program. Now, the long-awaited second season has arrived, with the fourth episode streaming this week. Even after the controversial firing of showrunner Beau DeMayo, “X-Men ’97” has already been renewed through Season 4 and the voice cast has started recording their lines for Season 3, Zann says.

The show’s success with both fans and critics is in large part due to its commitment to honor the original ‘90s show, about a group of mutants fighting for themselves and for humanity, not only by preserving its hand-drawn animation style and mature themes but also the voices and personalities of the characters.

“When I pitched the show to Kevin [Feige], he got it immediately and his first question was, ‘Are you going to get the original cast back?’ And I was like, ‘Yes, we are,’” says Brad Winderbaum, head of Marvel Television, Animation, Comics and Franchise at Marvel Studios.

Several voice actors from the original “X-Men” animated series returned for “X-Men ‘97,” which has returned for Season 2. From left, Beast (George Buza), Bishop (Isaac Robinson-Smith), Rogue (Lenore Zann), Professor X (Ross Marquand), Magneto (Matthew Waterson) and Nightcrawler (Adrian Hough).

(Marvel)

Not everyone was still around to return — Norm Spencer, voice of Cyclops, died in 2020 — but in addition to Zann, actors George Buza (Beast), Alison Sealy-Smith (Storm), and Cal Dodd, the voice of the lovable clawed grouch Wolverine, have reprised their roles in “X-Men ’97.” Their emblematic voice performances, Winderbaum says, are baked into his psyche.

“Any time Lenore says the word ‘sugah,’ it just makes me melt into a puddle on the floor,” Winderbaum says, laughing. “She is Rogue and, when she turns it on, she becomes an icon.”

Busy with her political career as part of Canada’s parliament, Zann stepped away from the entertainment business for over a decade. Zann was back home in Truro, Nova Scotia, figuring out her next chapter when she received an email from a friend who said producers at Disney were looking to have her audition for a show. She was skeptical.

Zann eventually got a call from casting director Meredith Layne and a screenplay with lines that were instantly familiar from her time voicing Rogue, the spunky heroine whose touch can be deadly, in the ‘90s.

”I thought, ‘I guess they’re looking for Rogue, so I’ll just give them Rogue,’” she recalls, laughing. “And I did my Rogue voice, which is basically just my own, but with a bit of a Southern accent thrown on,” she adds with a slight twang.

The producers then asked her if she would reprise her superhero for a new generation of kids.

Doing her Rogue voice, Zann recalls: “I said, ‘You had me at hello, sugah.’”

She revels in the similarities between her and Rogue. “We’re both social justice warriors. We really fight for people to be accepted as who they are.”

In 2024, Zann published “A Rogue’s Tale: A Memoir,” a tome recounting her storied life, titled after a memorable episode in the ‘90s series that revealed her beloved mutant’s backstory.

Wolverine in a scene from Season 2 of “X-Men ’97.”

(Marvel)

For Dodd, leaving behind Wolverine after five seasons of the original show felt like losing a part of himself. “X-Men ’97” offered him a chance to feel complete once again.

“I was so happy because when I first created the voice of Wolverine in ‘92, he became very quickly like my brother or my right arm,” Dodd says during a recent video call. “I got my arm back, and my brother.”

After all these years, Dodd was also pleased to see how the most important character of his career looked in the new series. “Out walks Wolverine and I just went, ‘Holy crap, you look great, bub,’” he recalls, laughing about his first time recording lines for “X-Men ‘97.”

When he first auditioned for the role in the ‘90s, Dodd had no idea who Wolverine or the X-Men were. At the time, he was making a living as a singer for commercials and jingles in Toronto.

Dodd remembers the lines he was asked to deliver were directed at the villainous mutant Sabretooth. He had never seen an image of Wolverine or any of the characters. “At one point, I said to them, ‘Is this an animal cartoon?’ They just thought I was a complete imbecile,” he recalls with a chuckle.

In that initial scene, where Sabretooth attacked Jubilee, a member of the X-Men who Wolverine sees as a daughter, his line was: “All right, you egg-sucking piece of gutter trash. You always like pushing around people shorter than you. Well, I’m shorter. Try pushing me.” Dodd recites it from memory in Wolverine’s voice with a growl.

“The lines I was reading, I’d heard them before in the small town that I grew up in Canada; it’s a fisherman’s town, a tough little town,” says Dodd about his reference for Wolverine’s voice. “I knew guys that were exactly like him, and I knew the way they sounded.”

Even without any notion of the X-Men, he nailed it.

“The next morning, they called me and said, ‘We would love to have you as our Wolverine for the very first X-Men animated series,’” Dodd recalls. “And I said, ‘I would love to be your Wolverine, whoever, and whatever he is.’”

1

2

1. Cal Dodd, voice actor for Wolverine in “X-Men ’97.” 2. Lenore Zann, who voices Rogue. (Pauline Aguirre)

When Rogue came into Zann’s life, she already had a notable career as a screen and stage actor. Zann had starred as Marilyn Monroe in a rock opera about the actor’s life, for which she received much praise. “My agent called me and she said, ‘Lenore, they’re doing this animated series, and they’re looking for “a woman with a deep husky, sexy voice who can do a Southern accent,”’” Zann recalls, laughing. “And she said, ‘That’s you!’”

Back then, Zann wasn’t interested in doing voice work, so she missed the first auditions. But about a month later, she says, her agent called again. They still hadn’t found the right voice, so she pushed Zann to audition. She walked in and looked at a drawing of Rogue that Larry Houston, the storyboard artist and director of the show, had drawn.

“She had a very sassy attitude, and she had her hand on her hip and her head back with the hair flowing. I was like, ‘Yeah, I can do that.’ And then I went into the studio, put the headphones on, and opened up my mouth, did the first line: ‘I remember I had a boyfriend, when I kissed him, poor boy went into a coma for three days,’” she says in Rogue’s voice. That was enough for her to land the life-changing part.

At the end of the first season of “X-Men ’97,” both Rogue and Wolverine find themselves in difficult times. Wolverine’s clash with Magneto, the perennial antihero, left him severely injured, physically and mentally.

“He’s as tough as nails and he is more pissed off than anything that he was the only one that stood up to Magneto. He’s disappointed,” says Dodd. “And it’s a struggle for him in Season 2 for a lot of it. And then you see what happens. He’s in a funky place, but he’ll handle it.”

Part of that healing process will involve leaning into the humor tat Dodd imbues in his delivery. “What I think is surprising when you go back and watch that original animated series is how funny Cal is,” says Winderbaum. “Wolverine has amazing one-liners throughout that original series.”

As for Rogue, she is grieving the loss of Gambit, a.k.a. Remy LeBeau, who died in the first season. To voice Rogue’s sorrow, Zann leaned into her own grief over the passing of her 17-year-old niece from cancer. In Season 2, Rogue is trying to move forward.

“She’s still basically on a hero’s journey wanting to get justice for what happened to Remy and for the genocide that she witnessed and that she is a survivor of,” Zann says. “She still got survivor’s guilt, and she’s still trying to find her place within the X-Men now that the one that she loves is gone.”

At comic conventions, Zann and Dodd often meet fans of the original show, who are now adults, and their children, who have also come to love the characters. The emotions that people share with them are at times overwhelming.

“Many times, they tell us that this show saved their lives. They were either LGBTQ+ or they were bullied, or they just felt othered,” Zann explains. “A lot of folks who are Latino tell me that when they were little kids, their parents were agricultural workers, and they learned how to speak English from watching our show. We made them feel it’s OK to be different.”

“I see grown men in tears. They’re in their 40s and they’re crying,” Dodd says about meeting lifelong fans. “I can tell you that Wolverine can cry as well.”

Zann believes the X-Men are like modern-day mythological heroes. Through their fantastical ordeals, the X-Men illustrate qualities that inspire viewers, young and old.

“They are a group of misfits who band together to learn how to control the things that make them different and learn to accept and love themselves,” she says. “It’s an honor to be part of this incredible group of people and these characters that can really touch lives and help change them for the better.”

Dodgers catcher Dalton Rushing spun to face home plate umpire Dan Iassogna, holding up his mitt with the ball inside.

When that didn’t change the safe call, Dalton immediately pointed to the Dodgers dugout, mask in hand urging manager Dave Roberts to challenge.

Robert’s hands flew up to his ears, asking for a replay review.

The tension in Dodger Stadium broke with the announcement: “The catcher touched the runner’s hand before he reached the plate…”

The crowd’s applause drowned out the rest.

The go-ahead run had been on the line with that challenge in the Dodgers’ eventual 8-7 win over the Rockies in 11 innings. And it started a wild sequence to the Dodgers’ first extra-innings game of the season that ended with Rushing hitting a walk-off single to center field to score Teoscar Hernández.

That brawl with the Rockies — figuratively and almost literally — finished with the Dodgers becoming the first team to win 60 games this season.

“That’s a lot of wins,” Roberts said.

It looked as if the Dodgers would coast to the mark. Dodgers closer Tanner Scott took the mound in the ninth with a three-run lead. But after giving up an RBI double to Kyle Karros and a two-run double to Cole Carrigg the score was tied. Only a strong relay throw home by second baseman Miguel Rojas and a successful challenge prevented Hunter Goodman from scoring a go-ahead run.

In the bottom of the ninth, the Dodgers got runners on first and second with two outs. That brought up Andy Pages with two outs, but a successful Rockies ABS challenge confirmed a strikeout, sending the game into the 10th.

That ended the Dodgers’ streak of 91 games without extra innings, the second-longest a team has gone without playing an extra-inning game in the modern era, behind only the 2005 Red Sox (99).

The drama wasn’t over. Two batters into the 10th, the benches cleared.

With one out and Carrigg on third, Jake McCarthy hit a sharp ground ball to Dodgers first baseman Freddie Freeman, who stepped on the bag and fired home.

Rushing flung his body into the tag, but Carrigg was called safe.

Carrigg said something as began to walk away, and Rushing spun around.

As the two exchanged words, Dodgers reliever Edgardo Henriquez pulled his catcher away. But players from both dugouts and bullpens already began to spill onto the field.

Dodgers third baseman Max Muncy holds back Dalton Rushing after the Dodgers catcher got into a confrontation with Colorado’s Cole Carrigg in the 10th inning Monday.

(Ronaldo Bolanos / Los Angeles Times)

“I think that what happened is Carrigg said something aloud, not directed at Dalton,” Roberts said. “Dalton thought something was directed at him. We cleared the air. Basically a big misunderstanding.”

Said Rushing: “I didn’t mean any harm by the tag or the way I reacted to the ball. Made sure he knew that. Told him I was just reacting to the baseball. I don’t expect it to go any further.”

After a brief stoppage, Henriquez escaped without further damage. And the Dodgers got another shot, with Pages on second to start the inning.

Freeman’s groundout moved him to third. Then Mookie Betts drove him in with a comebacker over the mound and past flailing second baseman Edouard Julien.

Tucker then looped a single into no-man’s land. But the rally ended when Hernández’s liner up the middle landed in the glove of Rockies right-hander Jimmy Herget, who just entered the game, catching Kyle Tucker off first base for a double play.

In the 11th, Henriquez got out of the inning unscathed. He got Julien to pop out on a sacrifice bunt attempt and then started a double play himself. He punched the air as he walked off the mound.

“He’s calm in big spots, you’re starting to see it,” Roberts said. “He’s throwing strikes, throwing the breaking ball when he needs to and he’s now unfazed by certain moments and higher leverage. He’s a guy, certainly, we trust.”

In the end, Rushing — who already hit a pair of doubles and scored on Shohei Ohtani’s third-inning home run and fourth-inning two-run single — was the hero.

After Hernández made it to third on a sacrifice bunt by Tommy Edman, Dalton got the end of his bat on a changeup and sent it up the middle, just out of reach of a diving Julien.

“Infield’s in, they’re kind of doing you a favor,” Rushing said. “So move the ball forward, good things happen. And it wasn’t pretty, but it worked.”

Rushing’s helmet twirled in the dirt behind him as he jogged from first toward the center of the field, ready for the celebration that would meet him there.

“He plays with a lot of moxie,” said Dodgers starting pitcher Eric Lauer, who held the Rockies to three runs in six innings. “And he definitely doesn’t back down to anybody, and we love him for that. He’s a great guy that you want on your team.”

Dodgers star Shohei Ohtani rounds the bases after hitting a two-run home run in the third inning against the Rockies on Monday.

(Ronaldo Bolanos / Los Angeles Times)

Roster moves

Dodgers right-hander Evan Phillips is in line to make his first major-league appearance since May 2025. Phillips only made seven appearances last season, starting on the injured list with a strained rotator cuff before undergoing Tommy John surgery in June.

“It’s going to be a lot different tonight getting back out there in a competitive game, the full atmosphere,” Phillips said. “Really excited about that. I feel like probably the past two weeks or so I really took a good turn in my rehab, started bouncing back even better, pitching more like myself, feeling more like myself. So really just happy to carry that over to these games and see how the second half treats us.”

In a pair of corresponding moves, the Dodgers optioned right-handed reliever Paul Gervase to triple-A Oklahoma City and released left-hander Jake Eder.

The Dodgers also designated catcher Chuckie Robinson for assignment and added right-hander Carlos Duran to the 40-man roster. Both players are set to stay in Oklahoma City, with Robinson accepting his outright assignment.

The BBC has shared a teaser trailer ahead of the return of a police series called ‘the best thing on TV’

The BBC has shared a first look ahead of the return of a police series hailed as “a true gem”.

Blue Lights, which follows officers at the fictional Blackthorn police station in Belfast, has become a huge hit since it started in 2023, with some viewers saying it’s even better than Line of Duty. Its fourth series is set to air this autumn and the broadcaster shared a peek at what fans can expect in a new trailer.

In the exclusive clip, Constable Shane Bradley (played by Frank Blake) stops an elderly driver, David (Trevor Gill) and his passenger, Imelda (Rosamund Monteith), in a bid to improve Blackthorn’s crime statistics. He quizzes the man about whether he has been drinking, but he insists that he hasn’t touched a drop since 2003.

The forthcoming series stars Siân Brooke as Grace, Martin McCann as Stevie, Katherine Devlin as Annie and Nathan Braniff as Tommy.

Game of Thrones’ Richard Dormer, who played Gerry Cliff in series one, returns alongside Hannah McClean as solicitor Jen Robinson and Jonathan Harden as disgraced former Inspector, Jonty, in an episode “that will answer important questions from the past”. Blue Lights also stars Neil Keery from How To Get To Heaven From Belfast and Andrea Irvine from Call The Midwife.

So far three series of Blue Lights have aired, with fans posting messages on social media saying that it is “exceptional”, “stunning” and “the best thing on television”.

“Absolutely outstanding British drama,” one wrote on IMDb.com. “It’s poignant, emotional, engaging. The cast are brilliant. Best show I’ve watched in a long time.”

“It has everything a good police series should have,” said someone else. “It’s so tense and exciting with a great plot and cliffhangers and great criminals to catch.” “This is jewel of a police series!!” exclaimed another impressed viewer, as one said it keeps you “on the edge of your seat”.

“The storyline and acting are exceptional,” commented one fan, as another said: “The quality of Blue Lights took me completely by surprise – this is one of the highest quality shows I’ve seen in quite a while, driven by a superb storyline and excellent performances.”

“Blue Lights is a true gem,” said another. “Not your standard cop series. This one has HEART.”

“Easily the best police drama in the UK – I’d place it higher than Line of Duty,” remarked one person on Reddit. “I love Line of Duty, but I actually feel this recent series of Blue Lights was even better than the last couple from Line of Duty,” said another.

Blue Lights series four will be on BBC iPlayer and BBC One this autumn

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.

WASHINGTON — Most Americans continue to disapprove of how President Trump is handling Iran, while his overall presidential approval holds steady, according to a new AP-NORC poll that was conducted as he suggested a deal with Iran had been reached.

The poll points to just how unpopular the war, which began Feb. 28, has been with Americans even as the Republican president turned abruptly from threatening Iran to reopening negotiations. Support for his handling of the war remains lopsidedly partisan. About two-thirds, 65%, of U.S. adults disapprove of how Trump is handling issues with Iran. But while the vast majority of Democrats and independents view Trump’s actions negatively, only 28% of Republicans are unhappy.

Americans’ views on how the president is handling Iran are roughly in line with his overall job approval, which stands at 37%, unchanged from an Associated Press-NORC Center for Public Affairs Research poll conducted in May.

The new survey was conducted June 11-17, just after Trump called off threats to escalate the war with Iran. The poll was fielded as Trump announced a deal with Iran and authorized an end to the U.S. naval blockade in the Strait of Hormuz, concluding just before the deal was signed Wednesday.

Approval of Trump’s actions on Iran has been low over the past few months. But in interviews, some Republicans also weren’t pleased with the outcome of this week’s agreement, which gives Iran an immediate benefit, allowing it to sell its oil freely again.

The deal also reopens the strait without tolls for two months, restarts talks between the U.S. and Iran over Tehran’s nuclear program and calls for Tehran to dilute its stockpile of highly enriched uranium.

David Farrington, a 79-year-old Republican-leaning independent in Fort Worth, Texas, “doesn’t have any love lost” for Iran, but he’s frustrated the agreement focused on the strait and didn’t deliver more on the country’s nuclear weapons program.

“Any agreement regarding the strait is hardly what I would consider a recognizable concession on the part of Iran,” Farrington said. “So, I consider that some fluff that attempts to make this agreement look better when it’s not.”

Trump’s approval on Iran remains flat

Only about one-third of U.S. adults approve of how Trump is handling Iran in the new poll, in line with May.

Donald McBride, a 28-year-old independent in Plano, Texas, is frustrated that Trump has not maintained his campaign promise to keep America out of foreign wars. McBride voted for Trump but he opposed going to war with Iran.

“I would like the war to end,” he said. “The original objective of the war was to end the Iranian regime, and that’s just not possible. I don’t really know why we’d continue fighting.”

The poll suggests most Americans want action in Iran to wrap up. Even with an agreement on the horizon, 53% of U.S. adults said American military action against Iran had “gone too far,” only a slight decline from 59% in March.

About 4 in 10 Republicans, though, said in the latest poll that action has been “about right,” and 37% said it had not gone far enough.

Joan Jones, a 64-year-old independent in northwest Florida, believes the United States’ actions in Iran have been necessary to address the threat Iran posed.

“Those attacks are ultimately to protect us from nuclear attacks,” Jones said. “I think we have to go through that … and eliminate that worry so we don’t have that hovering over us.”

Few approve of Trump’s approach on Israel

About one-third, 34%, of U.S. adults approve of how Trump is handling Israel.

Tensions have been rising between Israeli Prime Minister Benjamin Netanyahu and Trump as the president criticizes recent Israeli attacks in Lebanon, which jeopardized negotiations between Washington and Tehran.

James Huffman, a 69-year-old Republican in Medway, Ohio, thinks Trump is taking the wrong strategy when it comes to Netanyahu.

“Netanyahu is not going to do everything Trump wants. He’s going to do what he wants,” Huffman said. “I just don’t think it’s effective.”

Only about one-third approve on the economy

About one-third of U.S. adults approve of Trump’s approach to the economy. That’s in line with last month, and continues a challenging stretch for Trump on the issue.

Jones, the Florida independent, is more optimistic than most. She said she can hardly leave the house some hours without getting stuck in the traffic of tourists headed to the beach on vacation. She also spots lines around the block for Starbucks, McDonalds and Chick-fil-A in her community — all signs to her that the economy is doing well overall.

“I think President Trump’s policies are contributing to a better economy,” Jones said.

Other Republicans are more skeptical, a troubling sign for a president who prides himself on his business acumen. Only 69% of Republicans approve of how he’s handling the economy, slightly lower than the 78% who approve of how he’s handling the presidency overall.

Patricia Bailey, a 42-year-old Republican in Parkersburg, West Virginia, sees an economy where prices have gotten out of control. “I just said the other night, ordering pizza is for rich people,” she said. Bailey voted for Trump but added, “He’s kind of let me down a little bit.”

Even if high prices preceded Trump, Bailey doesn’t think he’s lived up to his pledge to improve the economy.

“I think he got so distracted with the war that he forgot some old promises,” she said.

Sanders and Thomson-Deveaux write for the Associated Press.

The AP-NORC poll of 3,040 adults was conducted June 11-17 using a sample drawn from NORC’s probability-based AmeriSpeak Panel, which is designed to be representative of the U.S. population. The margin of sampling error for adults overall is plus or minus 2.8 percentage points.

The overcrowding one of the most popular tourist islands in Europe has sparked comparisons to a ‘long toilet line’ – with large crowds gathering as early as 7am

Holidaymakers have been warned a beautiful Greek island and one of the most popular sunshine resorts in Europe has descended into “one long toilet line”.

Travel content creator Mambo Italiano took to X to share footage of the scene recorded at 7am – with dozens of men, women and children tourists queuing into the streets at a photo spot. “Social media trends have turned the world’s most beautiful places into endless bathroom lines at a concert, where everyone waits for hours just to take the same photo to show to people who couldn’t care less,” she ranted in a caption.

“Nothing captures the shallow decay of our time better than this.”

The clip in question was recorded in Oia on the island of Santorini, which is located in the southern Aegean Sea – around 120 miles from the Greek mainland.

Mambo Italiano’s video followed the queue around several corners to reach its end – a lookout point over the crystal-blue sea overlooking Santorini’s famous blue-domed Greek Orthodox churches from an excellent vantage point.

“Oia is an over touristed,” one X user exclaimed in response. “One of the worst places I’ve been. Other parts of Santorini are lovely.”

A second person concurred: “I have to agree – there are much better areas on the island. Oia is good for photos and that’s about it.”

While a third explained: “People are no longer visiting places to see and enjoy. They want to visit and photograph themselves on those places, so then they can post them social media for likes and attention, with the only intent of saying, ‘oh look at me, I was here and you not’ and ‘look how special I am’ etc etc etc.

“That’s the only reason for those long queues, it is not to see and enjoy, it’s only to show off.”

And a fourth X user agreed: “Everything has turned into an influencers Instagram photo shoot. Beautiful places are ruined by main character syndrome narcissists.

“Every new eatery has a grass wall outside the entrance, loud music and serves high priced s*** on a plate.”

According to Greek Trip Planner figures from INSETE and municipal data show approximately 3.4 million visitors reach Santorini through a combination of air arrivals, cruise ship tenders, and inter-island ferries each year.

“The 3.4 million annual visitors produce a ratio of approximately 220 tourists for every resident per year – or, expressed differently, 107.8 tourists per 100 inhabitants at any given time during peak season,” they added.

“This density figure, documented in a 2018 European Commission study, placed Santorini beyond the measurable limits of standard overtourism indicators.”

Few people do simmering panic as nimbly as Sarah Goldberg.

In her role as Dr. JoAnne Felder, a performance psychologist tending to the mercurial psyches of the billionaire man-children of Silicon Valley on the new AMC satire “The Audacity,” Goldberg careens from serene to slapstick as she tries to keep a lid on her increasingly unruly life.

It is the latest in a string of enviably layered characters for the Vancouver native, including her Emmy-nominated breakout turn as aspiring actor Sally Reed on the HBO contract killer dramedy “Barry” and the coolly calculating portfolio manager Petra Koenig on the network’s drama “Industry.”

“I’m definitely learning some large tech and finance words that I didn’t know,” she says with a laugh about her recent wealth-adjacent roles on a Zoom from London, where she makes her home. “I’m not sure if I’ll retain them.”

Given the accolades, it seems likely Goldberg only needs to memorize her lines and the rest will follow.

While she has given a distinctive performance in each of her roles, one of several threads tying the characters together is a moment when fear, rage, excitement, ambition or all of the above collide but must be contained. While that discipline sometimes devolves into delicious displays of apoplexy — witness Goldberg’s incredible, expletive-littered elevator meltdown in “Barry” — the 40-year-old actor is more often the face of diplomacy while telegraphing cortisol levels in the red beneath her placid exterior.

“As a blond Canadian, I really ran the risk of being the girl next door,” she says of her attempt to dodge typecasting onscreen after cutting her teeth onstage in London and New York in the mid-2010s. “I didn’t want to be the girl next door … maybe the girl next door with bodies in the basement.”

While the only bodies to be found in JoAnne’s basement on “The Audacity” are her eavesdropping son and his friends, the London Academy of Music & Dramatic Art (LAMDA) graduate has accomplished the mission of subverting what might have been a perky ingenue image with the role. (One she will continue, since the series has already gotten a Season 2 order.)

When the ethically challenged therapist starts dabbling in insider trading thanks to info gleaned from her patients — including bold tech names Duncan Park (Billy Magnussen) and Carl Bardolph (Zach Galifianakis) — the slippery slope awaits.

Goldberg with “The Audacity” co-star Billy Magnussen.

(Ed Araquel / AMC)

“I think that she started her career with a desire to help people and somewhere along the line she’s become incredibly jaded and she’s exhausted by being the most intelligent person in the room and yet having no material wealth to show for it,” says Goldberg of her character, whose struggles extend to motherhood of son Orson (Everett Blunck) and marriage to child psychologist Gary (Paul Adelstein).

It does not help that JoAnne is surrounded by people who have no trouble sliding headfirst down the slope as if it were an Aspen trail.

“She’s working with people who have so many houses that if one burns down, it doesn’t matter, and yet she’s struggling to keep the roof over her own head. So somewhere along the line she starts making these little contracts with herself thinking, ‘In this sea of moral bankruptcy, is my tiny little transgression really so bad? Or is it even justified?’ But these little small pacts start to snowball. You can see somebody torn between their better judgment, their core instinct, their humanity, and someone who is so frustrated that they’re stepping toward a kind of nihilism.”

That sense of inner conflict appeals to Goldberg, who says she knew instantly that she had to play JoAnne when she read the script by showrunner Jonathan Glatzer. “It’s rare for me to go out and be like, ‘I have to play this role!’” she says, adding with a laugh, “I can be quite passive. I can be quite Canadian in the American market. I felt like he’d found this incredible line of satire with pathos, which is my favorite kind of style.

“I’m always interested in playing characters on the precipice of losing their moral compass and which way they decide to go,” she continues. “And if JoAnne has anything in common with Sally from ‘Barry,’ because they’re such different characters, it’s that. … I love that Jonathan’s given JoAnne very mundane relatable problems in a world where the scale is so off and there’s a lot that the average person can’t relate to in that bubble.”

Goldberg has also been busy creating her own bubble, writing, producing and starring in the Canadian-Irish series “Sisters” — which just concluded its second season on AMC — with Irish actor Susan Stanley, her best friend since their LAMDA days. The odd couple sibling comedy finds Goldberg playing Sare, a buttoned-down Canadian who goes to Ireland to find her long-lost biological father (Donal Logue) and discovers shambolic half-sister Suze (Stanley).

“I was pretty shocked at how hard it is to get something made,” she says of the series’ six-year journey to screen. “And then to be in a leadership position where you’re inviting everyone to dinner and you’ve got to make sure there are three courses and being responsible for everybody’s well-being — it was wildly challenging, but absolutely thrilling.”

While she prepares to return to JoAnne’s world in Palo Alto — her hometown of Vancouver serving as a double — Goldberg feels very fortunate about where she’s landed.

“I’ve been so lucky at this stage in my career to work on scripts that I feel are really saying something and characters that I feel are morally complex and also to be in the business at a time where female characters are more complicated.”