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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.

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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.”

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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

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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.”

José Soriano pitched five innings, Denzer Guzman drove in three runs and the Angels extended their winning streak to four games with an 8-0 victory over the Tampa Bay Rays on Saturday night.

Jose Siri hit a two-run home run and Donovan Walton had two RBI hits to put the Angels in line for just their second series sweep of the season Sunday.

Soriano (8-4) gave up three hits with two walks and five strikeouts after taking a line drive off his chest and right shoulder area in the first inning. It was Soriano’s first scoreless outing in his past nine starts after he had five over his first six outings of the season.

Griffin Jax (1-5) gave up an unearned run over five innings for the Rays and absorbed a hard-luck loss after giving up five hits with five strikeouts. Jax remained winless in nine starts since moving into the rotation.

Cedric Mullins had two of the five hits for Tampa Bay, which did not collect its first hit off Soriano until Mullins singled leading off the fourth.

The Rays entered the series after a three-game sweep of the Boston Red Sox but have lost consecutive games to the Angels, who were tied for the worst record in the American League at the start of play Saturday.

The Angels took a 1-0 lead in the fourth inning when Jo Adell scored after Rays shortstop Taylor Walls misplayed a ground ball by Nolan Schanuel.

The Angels added to their advantage in the sixth inning when Guzman delivered a two-out two-run single and Walton followed with his run-scoring double.

Siri crushed a two-run home run to center in a four-run seventh before Guzman and Walton added RBI singles.

What to do after writing some of this century’s most devastating songs about the torment of breaking up? Write some of this century’s most devastating songs about the ecstasy of getting together.

With her first two albums — 2021’s Grammy-winning “Sour” and 2023’s triple-platinum “Guts” — Olivia Rodrigo proved herself to be perhaps the most gifted of the many chroniclers of Gen Z romance to emerge in Taylor Swift’s wake. She could convey the hot sting of betrayal, as in her smash debut single, “Drivers License”; she could channel the injustice of watching an ex somehow carry on, as in “Good 4 U”; she could deliver a sick burn like somebody handing out Halloween candy, as in “Get Him Back!” (Because it deserves remembering: “He had an ego and a temper and a wandering eye / He said he’s six-foot-two, and I’m like, ‘Dude, nice try.’”)

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Yet on her thrilling third LP, “You Seem Pretty Sad for a Girl So in Love,” Rodrigo, 23, turns to the pleasure that comes before the pain — and, in a feat very few in pop music are ever able to pull off, ends up with a number of first-flush-of-love songs as potent as any breakup tune.

She opens the album with “Drop Dead,” in which she compares a guy in line for the bathroom at a bar to an “angel on the walls of Versailles” — an early sign of how high the emotional ceiling is here. In “Stupid Song” she cycles through a series of metaphors to describe her lovesickness — she’s a car without a brake, she’s a heart made of melting wax — before finding a simpler but infinitely more vivid way of getting her point across: “You should feel how I feel when somebody says your name.” (Chills.)

“Maggots for Brains” is a song about how useless she becomes “when my baby goes away,” and let’s just take a second to savor the fact that Rodrigo is putting that title into the world less than four years after she was still a working Disney kid. The album’s next tune, “U + Me = <3,” is its high point: a euphoric promise of devotion that sounds like Sixpence None the Richer reborn as a Midwestern emo band. It’s got two young lovers carving their names into car seat leather, and it’s got a girl trying to impress her boyfriend’s older sister with her cynical humor and her taste in yacht rock.

More important, it’s got these lines of pure poetry: “They say modern love’s a cruel endeavor / And to that I say, F— it, whatever.” Kurt Cobain would be proud.

Working with her longtime producer, Dan Nigro, Rodrigo has expanded her stylistic palette to accommodate these new emotions; “You Seem Pretty Sad” pulls in chiming folk-rock and synthed-up new wave and even has a gorgeous wine-bar piano ballad, “Less,” that might put the scare in Rodrigo’s pal Laufey.

The cover of Olivia Rodrigo’s new album.

(Geffen Records)

The album is structured to trace the arc of a relationship, which means that the second half dips into the heartbreak we’re used to getting from Rodrigo. But she’s writing about familiar scenarios with new wisdom, drawing sophisticated conclusions about why people in love do the things they do (and don’t do the things they don’t).

In “The Cure,” which rides a strummed acoustic-guitar pattern that strongly recalls Smashing Pumpkins’ “Disarm,” she realizes a boyfriend can’t fix what’s broken inside her; “Begged” examines the limits of one partner’s willingness to look past the failings of the other. After hearing these songs, the happier ones at the beginning of the album reveal bits of shadow that Rodrigo has built into them to presage what’s to come — to presage what always comes.

It’s fitting, then, that Robert Smith of the Cure — perhaps pop’s most jubilant gloommeister — hovers over this LP like a patron saint: nodded to in “The Cure,” of course, but also “Drop Dead,” where Rodrigo name-checks the Cure’s classic “Just Like Heaven.” Smith himself turns up in “What’s Wrong With Me” for a duet with Rodrigo in which the two learn to accept that love, in the end, might be what kills them.

“My head is spinning and my stomach is sick,” they sing, and neither sounds like they’d have it any other way.

New surveillance footage and other evidence from Southern California Edison confirms that a century-old, idle transmission line that the utility failed to remove ignited last year’s deadly Eaton wildfire, lawyers for insurers said in a court filing.

Video obtained from a surveillance camera at Gerrish Swim & Tennis Club in Pasadena shows two bright flashes occurring in the location of the tower holding the idle line at 6:11 p.m. on Jan. 7, 2025.

The flashes correspond to the time that Edison recorded two faults, three seconds apart, on another transmission line more than five miles away, the lawyers said in the filing, citing new data provided by the utility.

Soon after the faults, residents nearby recorded videos of a fire burning at the base of the tower, which is known as M16T1.

“Southern California Edison has spent the last sixteen months attempting to forestall the inevitable legal consequences of razing a large swath of the communities of Altadena and Pasadena to the ground,” the lawyers wrote in the filing.

“The Eaton Fire could not have occurred if SCE had simply disassembled and removed Structure M16T1,” the lawyers added.

The lawyers filing the May 18 motion represent property insurers that paid tens of millions of dollars to residents who lost their homes. Their motion asks the judge to order a judgment in the insurers’ favor that would make Edison liable for the damage under inverse condemnation, a legal doctrine in the state constitution.

Courts have ruled that the doctrine requires private utilities such as Edison to pay for property they destroy, even if they haven’t been found to have acted negligently.

Kathleen Dunleavy, a spokeswoman for Edison, said the company did not learn about the existence of the swim club video until the lawyers submitted it in court with their filing.

“It’s very disappointing and inappropriate that this video was not produced in discovery,” she said. “We hope that video has been turned over to the appropriate authorities.”

Dunleavy said the company believes the lawyers’ motion “is wrong on the facts and the law.”

“We’ll respond more fully in our own court filing,” she said.

Attorneys for the insurers did not respond to requests for comment.

In a February 2025 letter to state regulators, Edison said it had detected a single fault on a line more than five miles away from Altadena about 6:11 p.m. on the night the fire ignited. It said the fault caused a brief surge of electricity on its four live transmission lines in Eaton Canyon.

The company said in the letter that it was looking into whether the power surge could have caused electricity to jump to the idle line that runs parallel to the live wires through a process called induction.

Pedro Pizarro, chief executive of Edison International, later said that a leading theory of the fire’s ignition was that the idle line became energized briefly through induction, sparking the fire.

At the same time, the company has not accepted blame for the fire, saying repeatedly that its own confidential investigation into the cause, as well as a separate inquiry by Los Angeles County and state fire officials, is continuing.

According to the court filing, evidence obtained by the lawyers shows that the company stopped using the transmission line in 1971 and designated it as “out-of-service.”

“The declaration of Out of Service shall only be used when the line … or piece of equipment is expected to remain permanently out of service,” Edison stated in an internal document known as a system operating bulletin, according to the filing.

Edison executives told The Times last year that they left the line in place because they believed it might be needed in the future.

“We have these inactive lines still available because there is a reasonable chance we’re going to use them in the future,” Shinjini Menon, Edison’s senior vice president of system planning and engineering, said then.

Dunleavy said Friday that the idle lines are kept in place for a variety of reasons, including to preserve the right of way Edison had obtained to construct them and to support future needs for more electricity as the state aims to meet its clean energy goals.

Last year, The Times reported that state regulators, knowing old electric lines posed hazards, proposed a rule in 2001 that would have forced Edison and other utilities to remove idle lines unless they could prove they would use them in the future.

Under pressure from Edison and the other companies, the rule was weakened to allow utilities to keep the unused lines in place until executives decided they were “permanently abandoned.”

In their May 18 filing, the lawyers said Edison executives had known about the risk of induction for more than 100 years. They cited a 1923 contract between Edison and Pacific Electric Railway Co. that said that “leakage of electricity or induction from or between” conductors was an inherent risk of operating multiple electrical circuits in proximity.

“That’s why SCE grounds idle lines and inspects them,” Dunleavy said of the risk.

Copies of Edison’s fault records from that night, its operating bulletin and thousands of other documents, including depositions, are sealed from public view under a protective order that Edison and lawyers for the victims asked the judge to approve last year.

The L.A. County district attorney is investigating whether Edison should be criminally prosecuted for its actions in the fire, the company said in an investor filing this year.

The fire killed at least 19 people and left thousands of families homeless.

A hearing on the lawyers’ motion is scheduled for Aug. 11 in L.A. County Superior Court.

Edison has offered to compensate victims of the fire who give up their right to sue the utility.

The company said last week that it had so far received more than 3,500 claims from about 10,000 people. It said it had extended nearly 1,900 offers to those people, totaling more than $650 million.

Many victims have refused the offers, saying they don’t fully cover their losses from the devastating blaze.

Edison has told its investors it expects to actually pay little or nothing for the fire because of a 2019 state law. The company anticipates that it will be reimbursed for its payments to victims by a $21-billion fund created by the law known as
Assembly Bill 1054.

The law shields utilities from the damages of fires sparked by their equipment as long as they follow certain requirements, including submitting a plan to state regulators for reducing the risk that their equipment sparks fires. Regulators review the plan and track whether the utilities are making progress in reducing the fire risk.

Since 2019, Edison has spent billions of dollars on making its lines safer, including by undergrounding them and installing insulated wires. Those costs continue to raise customer electric bills.

In the last 10 years, Edison’s rates increased by 101%, according to an April report by the public advocates office at the California Public Utilities Commission.

Despite the spending, Edison’s electric lines sparked more fires in 2024 than in 2019. The company blamed the increase on erratic weather that created more dried vegetation.

Hundreds of Bolivian residents are braving near-freezing temperatures to queue for affordable chicken in La Paz, due to more than a month of food shortages.

Spiked prices and protester blockades have affected access to food and medical supplies in the capital.

Following his run topping display at the IPL, Vaibhav Sooryavanshi is being lined up as India’s youngest player.

The 15-year-old batting sensation Vaibhav Sooryavanshi is likely to be named in India’s T20 squad, while skipper Suryakumar Yadav could get the axe when selectors meet on Saturday.

Sooryavanshi had a stellar Indian Premier League (IPL) for Rajasthan Royals, finishing top of the batting charts with 776 runs, including a hundred and five half-centuries.

It is understood that the left-handed opener is in line to be picked for two T20 matches in Ireland, followed by five games in England.

He would be the youngest debutant for India in history.

Batting great Sachin Tendulkar played his first Test for India at 16 years and 205 days in 1989.

Sooryavanshi has also been included in a 30-member of probables for the Asian Games in September-October in Japan, Indian media says.

He was named most valuable player in the IPL, despite his team narrowly failing to reach the final.

He also scooped the Orange Cap for leading the batting charts, and was named emerging player of the season, among other prizes.

The India T20 team is expecting a leadership change, with Suryakumar likely to be removed from the captaincy nearly three months after he led the country to World Cup glory at home.

Suryakumar has struggled with the bat, scoring just 242 runs in nine World Cup innings, with his unbeaten 84 against the United States the only significant knock.

Playing for Mumbai Indians in the IPL, the 35-year-old managed only 270 runs in 13 innings at an average of 20.76. His team ended ninth in the 10-team table.

Indian media have predicted Suryakumar will lose his place in the T20 squad, with insiders calling it a “tough call”.

Suryakumar is likely to be replaced by Shreyas Iyer, who last played a T20 for India in December 2023 but has been an IPL-winning captain.

He led Kolkata Knight Riders to the title in 2024 and then captained Punjab Kings to a runners-up finish in 2025 and into the playoffs this year.

Ishan Kishan and Tilak Varma are also in contention for the captaincy, with selectors set to name the squad over the weekend in Mumbai.

It’s election day in California’s 2026 primary, and you’re headed to the polls — until you realize you’re not sure you’re registered, or fear you might not make it to the vote center on time.

Here are some common election day concerns and challenges and how to end your Tuesday with an “I voted” sticker.

I forgot to register to vote

You can still register to vote on election day as a conditional voter through the same-day voter registration process.

Eligible citizens who need to register or re-register to vote within 14 days of an election can complete this process and vote at county elections offices, polling places or vote centers. To register you’ll need to provide a driver’s license, a state identification number or the last four digits of your Social Security number.

A complete list of county election office addresses can be found here.

Your submitted ballot will be processed and counted once the county elections office has completed the voter registration verification process.

If you’re unsure about your voter status, you can find your record here by providing some personal information including your date of birth and driver’s license number.

I don’t know where my polling place is

You can find your nearest polling place on the California secretary of state’s website here.

You can also use Los Angeles County’s voter center locator on the registrar-recorder/county clerk website here.

On election day, voting centers are open from 7 a.m. to 8 p.m. across the state.

I can’t submit my mail-in ballot myself

You can have someone else submit your ballot.

Anyone can drop off your mailed ballot as long as you authorize them to do so and they do not get paid on a per-ballot basis, according to the secretary of state.

You and the person you’ve authorized to submit your mailed ballot must fill and sign the outside of the ballot envelope.

I forgot my check-in code for in-person voting

Los Angeles County election officials say you can check in at a vote center by scanning your “quick check-in code” — a number that verifies your voter registration.

Your code can be found on your mailed sample ballot and vote center postcard. Take either of those hard copies to the vote center.

If you forgot the hard copies, you can retrieve the code by verifying your voter registration here. You’ll need to input your last name, birth date, the house number of your residential address and ZIP Code. For assistance call, (800) 815-2666, Option 2.

I want to drop my ballot in a box but fear it’s too late

There are three ways you can submit your mailed ballot on election day:

• You can put it in a ballot drop box. The cutoff time for doing so is 8 p.m., which is also when the polls close on election day.
• Drop it off at a vote center, where the deadline is the same.
• Drop it off at a United States post office. Be sure to get a hand-stamped postmark from a postal employee. Mailed ballots must be postmarked on election day and received no later than seven days after election day.

I think I forgot to sign by mailed ballot envelope

If you failed to sign your vote-by-mail ballot return envelope, your vote will still count.

Your county elections official will notify you by mail, phone or email, according to the secretary of state. You can also be notified by way of the “Where’s My Ballot?” tracking tool if you have signed up for automatic notifications that will ping you if there are issues with your ballot.

Your county elections office will provide you with a form to fill out and return completed.

The form will be given to you two days prior to the day your county certifies the election, so be sure to fill it out and return it to your county elections office right away.

I’m going to be late getting to the polls; can I still vote?

In California, any voter who is in line at 8 p.m. when the polls are scheduled to close is allowed to vote, according to the secretary of state.

If there is a line when the polls close, a poll worker stands at the back of the line to let people who arrive after 8 p.m. know that the polls have closed.

Any voter who arrives after the polls have closed may not be allowed to vote, even if voters who were in line to vote before the polls closed are in the process of voting.

A UK train line will be closed for three days this weekend as the station undergoes major works.

Travellers are advised to plan their journeys in advance as there will be no trains running on the busy West Midlands line.

Between May 29 and May 31, there will be no trains running between Birmingham New Street and Lichfield Trent Valley Station.

Network Rail has announced that the closures will be in place to allow for the installation of a new viaduct.

The planned work will take place over the weekend and services are expected to return to normal on Monday, June 1.

For those travelling southbound on the Cross City line, services will be continuing as normal between Birmingham New Street and Redditch/Bromsgrove.

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The “complex” installation work will also affect services between Birmingham New Street and Tame Bridge Parkway, to ensure all works are carried out safely.

Passengers affected by the disruption will be able to travel on rail replacement buses, running from Birmingham New Street to both Lichfield Trent Valley and Tame Bridge Parkway

For those travelling to Rugeley Trent Valley, the services will be diverted and journeys are expected to take longer than usual, so passengers are advised to allow extra time for possible delays.

The major works comprise of the installation of a 150-metre-long viaduct, located near the new Curzon Street Station, that will transport HS2 trains over an existing Victorian viaduct between Duddeston and New Street.

Director for On Network Works at Network Rail and HS2, Patrick Crawley, said: “We’re reminding passengers to plan ahead for a three-day closure on the Cross City line between Birmingham and Lichfield to enable the safe installation of a new HS2 viaduct over the existing railway.

“This is a significant milestone in the delivery of HS2 at Curzon Street, and while there will be some disruption, we’ve worked closely with partners to keep people moving and minimise the impact as much as possible.”

Customer experience director for West Midlands Railway, Jonny Wiseman, added: “We want to thank passengers for their patience while this major piece of engineering work is carried out and the northern section of the Cross City Line is closed.

“Rail replacement buses will be running during the closure, and passengers are encouraged to check their travel before setting out.”

TAKING a cheeky croissant or two away from the buffet for a midday snack in your cabin seems harmless – but one cruise ship is cracking down on it.

Costa Cruises has said it will start fining passengers €60 (£50) who take buffet food away to eat it in their rooms.

Follow The Sun’s award-winning travel team on Instagram and Tiktok for top holiday tips and inspiration @thesuntravel.

Costa Cruises recently told its passengers that they will be implementing the ‘cleaning fee’ if it finds evidence of anyone eating buffet food outside of the designated dining areas.

The cruise line told Sun Travel that “guest safety and well-being are our top priority.”

They continued to say: “On a limited number of specific sailings, onboard communication was shared as a preventive and deterrent measure, in line with our existing policies, to encourage guests to [have] responsible behavior.

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“Costa Cruises remains committed to ensuring a high-quality, safe and enjoyable experience for all guests on board.”

The new policy is only for food being taken out of the dining areas, not room service, which is available 24-hours a day. 

The news of the fines has been met with both positivity and criticism by cruise-goers.

On an Instagram post by unrealcruises, there were plenty of comments, one said: “Zero chance I’d pay that fine. Make breakfast in bed for my wife every morning by bringing food back. Who cares where you eat the included food.”

Another stated that they enjoyed eating food from the comfort of their balcony.

However others have said that it will be good as there’s “nothing worse than plates and cups lining the hallways”.

Costa Cruises, a brand owned by Carnival Corporation, is based in Italy, and offers sailings through the Mediterranean, Caribbean and South America.

It also heads to Asia, the Canaries, Northern Europe including the fjords – and there are mini cruises too.