lost

IT’S been five years since Britney Spears was released from her conservatorship following the Free Britney campaign, but insiders say the pop superstar is more lost than ever. 

In recent months alone Britney, 44, has been arrested for a DUI and faced accusations of bizarre behaviour including making barking sounds at a restaurant and brandishing a knife. 

It’s a far cry from the 16-year-old who took over the world in 1998 with her debut single Baby One More Time, which catapulted her to instant worldwide fame. 

She should be living life on her own terms after 14 years under the heavy surveillance of her dad Jamie Spears. But The Sun understands that couldn’t be further from the truth. 

An insider said: “Some people close to Britney can’t help wondering whether she’s actually happier now than she was then.

“The sad reality is that she seems incredibly isolated. She spends most of her time at home and her world has become smaller and smaller over the years. 

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“Those around her would love to see her thriving, but instead they worry she’s become increasingly detached from everyone else.”

In 2023, Britney split from her third husband Sam Asghari – less than a year after tying the knot – and we’re told the break-up had a huge impact on the mum-of-two.

She shares Sean Preston, 20, and Jayden James, 19, with ex-husband Kevin  Federline and has struggled with a strained relationship with her sons for years. 

Our source said: “The divorce hit her hard and she hasn’t appeared to find the stability or companionship she craves and desperately needs. 

“Her relationship with her sons has also been a source of sadness over the years, and those closest to her know how much that weighs on her.

“People are worried rather than reassured, especially when they see her on social media. The videos and posts leave people concerned and scratching their heads, it looks like we’re seeing someone who is still struggling.”

Despite being one of the best-selling music artists of all time, Britney left fans gutted in 2022 when she insisted she’ll “probably never perform again”. 

She said on social media at the time: “I’m pretty traumatized for life and yes I’m p****d as f**k and no I probably won’t perform again just because I’m stubborn and I will make my point.”

And it’s the lack of ambition for performing – something she once thrived on – that has pals seriously concerned and wondering what she’ll do with her life if she doesn’t return to the stage. 

“The overwhelming feeling among those who care about her is sadness,” our insider said. “Nobody is questioning her right to live life on her own terms, but there are fears that she’s still searching for happiness and hasn’t found the peace that everyone hoped freedom would bring. 

“They look at Britney and see a woman who appears deeply lonely, increasingly disconnected and still trying to find her place in the world all these years later.”

WASHINGTON — The White House pushed back Thursday against growing bipartisan criticism of a negotiated settlement to the war with Iran, arguing its concessions to the Islamic Republic were contingent on its conduct and essential to securing peace.

The administration’s defensive posture came as details of the framework agreement, known as a memorandum of understanding, were finally shared with the public, revealing a raft of compromises with Tehran long opposed by Republicans.

Vice President JD Vance, who helped negotiate the deal, told reporters Thursday that the deal was structured to reward Iran for good behavior. But the text of the agreement suggests otherwise.

The Trump administration agreed to release billions of dollars in Iranian assets that were frozen and restricted by the United States “upon the implementation” of the memorandum — before any further actions are taken or additional negotiations begin. The president will issue sanctions waivers on Iranian oil, allowing Tehran to resume trading its most valuable export and breaking with decades of policy. And to facilitate that trade, boosting Tehran’s revenues, Trump agreed to immediately end a U.S. naval blockade of Iranian ports.

Still more concessions were offered to the Iranians, including a commitment by the U.S. administration to establish a fund of “at least $300 billion for the reconstruction and economic development of the Islamic Republic” — in effect providing reparations for the war Trump started.

“All required licenses, waivers and permissions needed for the relevant financial transactions will be granted by the United States of America,” the memorandum reads.

Taken together, the document reads as a stunning reversal of U.S. policy toward Iran after decades of concern across administrations in Washington — including throughout Trump’s two terms — that the Islamic Republic represents the nation’s greatest security threats as the world’s largest state sponsor of terrorism.

Criticism from Republican senators, in particular, has been sharp and swift.

Sen. Roger Wicker (R-Miss.), chairman of the Senate Armed Services Committee, said the $300-billion fund “would make Iran’s payoff under President Obama’s 2015 deal look like a pittance by comparison.” And Sen. Ted Cruz (R-Texas) accused the Trump administration of giving Iran money it would use to kill Americans.

“History demonstrates that giving billions of dollars to theocratic lunatics who want to murder us is an exceptionally bad idea, and I think, unfortunately, the president is receiving some really bad advice on this deal,” Cruz said. “I don’t want to see us send a penny to the ayatollah. And I hope that we don’t.”

The Obama-era deal, known as the Joint Comprehensive Plan of Action, included structured sanctions relief for Iran in exchange for concrete and verifiable steps by Tehran to dismantle much of its nuclear program — a framework that Republicans broadly criticized at the time.

By contrast, Trump’s agreement commits the United States to pursuing economic relief for Iran while providing no clarity about the future of Iran’s nuclear program — the very issue Trump cited as the rationale for launching the war.

The memorandum includes a pledge by Iran to never purchase or construct nuclear weapons — a vow the Islamic Republic has made multiple times before, including by signing the Nuclear Non-Proliferation Treaty, in a religious edict issued by the late supreme leader and in the Obama-era nuclear accord.

Vice President JD Vance speaks to reporters at the White House on June 18, 2026.

(Manuel Balce Ceneta / Associated Press)

Detailed negotiations over Iran’s nuclear program — including whether Tehran could continue domestic uranium enrichment, at what level, and under what monitoring regime — were left for another day.

For more than a decade, the U.S. intelligence community has assessed that Iran sought a threshold nuclear capability, securing the strategic advantages of a nuclear power without incurring the costs of openly pursuing a bomb.

The agreement does include a commitment by Iran to do its “best” to bring commercial shipping traffic through the Strait of Hormuz, a vital international waterway, back to prewar levels. But critics of the president said he had to make deep, historic concessions just to secure a status quo ante upended by the war he started. And in the document, Tehran agreed to refrain from imposing a toll on ships transiting the strait for only a 60-day period.

“Unless you were homeschooled by a day drinker, no one’s confident that Iran is going to do anything,” Sen. John Kennedy, a Republican from Louisiana, told reporters this week.

Sen. Bill Cassidy, Kennedy’s Republican counterpart from Louisiana, called the deal “the worst foreign policy blunder in decades” that would have President Reagan “rolling over in his grave.”

“Iran’s nuclear ambitions were not curbed, and they have learned that threatening the Strait of Hormuz works and will undoubtedly leverage it in the future. Now, Iran gets to build brand-new infrastructure under this deal,” Cassidy said.

“Before the war, the strait was open, Iran was being crushed by sanctions, and 13 service members were still alive,” he added. “Now, 13 Americans are dead, families have paid billions at the pump, sanctions will be lifted, and the bombing has stopped.”

Despite mounting criticism, Trump put his signature to the memorandum on Wednesday night while attending a dinner with the French president in Versailles, a palace infamous for hosting a treaty signing that disgraced Germany at the end of the First World War.

He defended the agreement while in Europe and suggested further concessions might be forthcoming, including recognition of Iran’s claimed right to enrich uranium and a new willingness to tolerate its continued ballistic missile development — another program that Trump had vowed to eliminate as a central war aim.

“He took America to war — killing 13 soldiers, thousands of Iranian civilians and costing taxpayers $60 billion — to get rid of Iran’s missile program. And now that he’s lost the war, he pretends like it’s no big deal,” said Sen. Chris Murphy, a Democrat from Connecticut.

“Just unforgivable,” he added. “What a charlatan.”

Unprecedented sports feats and historical firsts are usually joyous affairs. Something to celebrate, fun trivia to tuck away for later.

On Monday in Inglewood, the history was much more fraught, and not at all trivial.

Iran’s national soccer team played on American soil — this time on SoFi Stadium’s natural turf — for the first time in 26 years. And for the first time, a country hosted a World Cup participant with which it is mired in an on-again, off-again war.

There was, in the days and hours leading up to the match, protest and pushback from portions of the large, local Iranian diaspora who didn’t think it was possible to support the country’s football team without supporting the oppressive regime.

But inside SoFi Stadium, thousands of L.A.’s Iranian supporters gave the team its full-throated support. So did many new Mexican fans who’ve adopted Team Melli, which has been staying and training in Tijuana between matches as it was barred from the United States except for game days.

Most of the near-sellout crowd of 70,108 were there cheering Iran, helping propel this team under so much pressure to an entertaining 2-2 tie with New Zealand.

And there, among the thousands of enthusiastic Iran supporters swept up in the match, was my son’s favorite soccer coach, Narbé Mansourian, with his son, 13-year-old Daniel.

Narbé’s brother got his hands on a pair of nosebleed tickets and immediately handed them over to his soccer-loving relatives.

And Narbé — a fifth- and sixth-grade social studies teacher in Hollywood — had no qualms about backing these Iranian men. There were no second thoughts about separating the players from the politics in the country with the complicated geopolitical — and personal — history.

Now, know this: Mansourian is no fan of Iran’s Islamic regime. He was 7 in 1983 when his father, a political dissident, was executed in Evin Prison, nine months after he’d been apprehended.

Narbé remembers visiting his dad, Vazgen, at the notorious prison. He remembers the long drive to get there, the long wait to see him and the game he and his mom used to play: “Today you are 4 years old.”

Narbé Mansourian, right, and his son Daniel before Monday’s World Cup match between Iran and New Zealand at SoFi Stadium.

(Mirjam Swanson / Los Angeles Times)

What started as a way to avoid paying bus fares for 6-year-old Narbé became the way to fool guards at prison, where only the small children were allowed to physically touch their imprisoned loved ones.

He remembers being allowed behind the glass, where he’d wait for his dad to emerge, blind-folded.

When his dad was killed at 37, Narbé said his mother didn’t immediately find out. And when she did, she initially told Narbé that he’d been sick. There was no funeral and when they went to visit his father’s grave, they found a dirt field. There were no markers, Narbé recalls.

He has kept Vazgen’s Coke-bottle glasses, his watch and the still-intact little LEGO house they built together before his dad was taken to prison.

Narbé has held onto so many difficult memories, including the nighttime terrors associated with bombings during the Iran-Iraq war. But there are also happier recollections. Like the stories he would make up about good guys going against the greedy. And, yes, memories of going to soccer games with his dad.

So, “absolutely, I’m going to root for the Iranian national team,” Narbé said before Monday’s match, saying that, to him, equating the Iranian national team with the country’s regime is like rooting against the Knicks because you don’t like President Donald Trump, a native New Yorker.

“It’s not like a cartoon good guy, bad guy,” Narbé said. “There’s so much gray. Because they live there. My heart goes out to them. It can’t be easy, to kind of teeter-totter like that.”

A pre-revolutionary Iranian flag is displayed before the World Cup group stage match between Iran and New Zealand at SoFi Stadium.

(Allen J. Schaben / Los Angeles Times)

I should’ve expected this outstanding youth soccer coach would be most concerned with the players on the pitch.

Some fans got into SoFi on Monday with the Iranian Lion and Sun flag, a historic Iranian national and opposition flag that was banned from the stadium because FIFA desires to steer free of politics (unless it’s steering straight into them). It was a strange sight in Los Angeles, seeing stadium workers asking attendees to discard flags in an effort to censor the expression of people here.

Some of those fans turned their backs during the national anthem, which many in the stands jeered at its start. But then, once the game took hold, so did the support.

“There were many Iranians here,” Iran coach Amir Ghalenoei said through an interpreter. “They believe in different political affiliations, different beliefs, but they all wholeheartedly encouraged us, and I think that’s a victory for all of us.”

WASHINGTON — Independents have grown increasingly unhappy with President Trump during his second term, a new AP-NORC polling analysis finds, particularly those without a college degree.

The analysis from researchers at The Associated Press-NORC Center for Public Affairs Research shows that while about half of independents without a college education had a positive view of Trump around the 2024 election, his approval with that group fell to about one-quarter this spring. That shift has erased the large education gap that existed among independents in the months before Trump took office for his second term, with independents now holding similarly negative views of the president regardless of their level of education.

The analysis was conducted by aggregating nearly two dozen AP-NORC polls conducted between July 2024 and April 2026, allowing for a deeper look at how support for Trump changed during several distinct periods, including the last six months of 2024, the first 100 days of Trump’s presidency, the summer of 2025 when the One Big Beautiful Bill passed, last fall’s government shutdown and the beginning of the Iran war.

The compiled polling shows a steady decline among independents throughout Trump’s second term. His standing has also dropped among several small but important groups that moved toward him in the 2024 presidential election, including Black and Hispanic independents.

More Americans than ever consider themselves independents, and they are among the groups that shifted toward Trump in the 2024 presidential election. Any erosion in that support could signal trouble for Trump and Republicans headed into the midterm elections, which are often seen as reflection of how voters feel about their governing party.

Tafari Torres, a senior research associate at NORC who co-authored the analysis, noted that while Democrats’ and Republicans’ views of Trump have held largely steady in his second term, independents’ opinions are still moving.

“Independents are, broadly, the people who are reacting to the events and dropping in their support,” he said.

Dramatic declines during Trump’s first 100 days

Trump’s return to the White House was in part fueled by independent voters who saw him as the stronger candidate on key issues like the economy. The new analysis, which looks at Trump’s favorability and presidential approval ratings, shows that once he took the helm, their views quickly soured.

Independents without a college degree had a much more positive view of Trump than college-educated independents did during and shortly after the 2024 election, but that shifted in the first few months of his term. Positive views of Trump among independents without a college degree fell from 48% in the months before he returned to office to 31% in polling conducted during Trump’s first 100 days back in office. Those warm views declined even further, to about one-quarter, during the government shutdown and the early months of 2026.

Only about 3 in 10 college-educated independents, by contrast, had a positive view of Trump before he returned to office, making their drop to about one-quarter much less dramatic.

“The decline among no-college independents was steeper and it was greater than the slight decline in college independents,” said Sean Collins, a research associate at NORC who co-authored the analysis. “That was surprising, especially given, when you think of Trump’s coalitions, those without college degrees is usually one of the ones that that stands out.”

Hispanic, younger independents grow disenchanted

Americans without a college degree have long been a key part of Trump’s coalition. But Trump also won in 2024 by making gains among groups that tend to support Democrats, including Hispanic adults.

About 4 in 10 independent voters — 42% — voted for Trump in 2024, up from 37% in the 2020 presidential election. Independent voters without a college degree were a little more likely to back Trump over former Vice President Kamala Harris in the last election, according to AP VoteCast, and Hispanic independents were about evenly split between the two.

The picture looks much bleaker for the president now.

Nearly half of Hispanic independents — 46% — saw Trump favorably in the polling conducted around the presidential election. His approval among these adults dropped quickly in his second term, falling as low as 15% during last fall’s government shutdown before landing around one-quarter in the spring.

Younger independents also became less supportive of the president, while independents age 60 and older remained mostly stable. Other AP-NORC polling has pointed to Trump losing ground among younger Republicans over inflation concerns and Hispanic Americans growing increasingly discontented.

“The gains Trump appeared to make during the election, I don’t know if they’re sticking around. He’s experienced some significant shifts among those people,” Torres said. “From our research, they don’t appear to be permanent gains.”

The economy is frustrating many independents

Polling suggests that the economy is at the root of many Americans’ frustrations with Trump, including independents.

About half of independents who supported Trump in 2024 said inflation was the single most important factor for their vote, AP VoteCast found, and most expressed high levels of concern about the cost of food and gas.

More than a year into Trump’s second term, inflation remains high, fueled by gas prices that remain elevated as the Iran war continues. An AP-NORC poll conducted in April found that about 3 in 10 independents were “extremely” or “very” concerned about being able to afford groceries in the last few months, and a similar share were worried about being able to afford gas.

The analysis found that Americans’ views of the U.S. economy tend to align with their view of the president. Those with negative views of the country’s economy tended to have negative views of Trump, and about 8 in 10 independents described the U.S. economy this spring as poor.

The latest AP-NORC polling from May found that only about 3 in 10 independents approve of how Trump is handling the economy, in line with the roughly 3 in 10 who said that at the beginning of his second term. The April poll found only about 1 in 10 independents — 12% — approved of how Trump was handling the cost of living.

This AP-NORC analysis of 4,836 independents was conducted over 21 AP-NORC surveys, blocked into five time periods before and during President Donald Trump’s second term. Independents are classified as panelists who do not select that they identify with or lean toward either the Democratic or Republican Party.

Sanders writes for the Associated Press.

“I’M still the same person as the 15-year-old me,” decides Blur guitarist Graham Coxon.

“Still a romantic idiot, still reasonably innocent — and I think that’s a healthy way to be,” he continues.

“I don’t want to be a cynical old bastard, so I’m lucky I still have a magical outlook on life.”

I’m talking to Coxon, 57, about his “lost” solo album, Castle Park, which is finally set to come blinking into the sunlight.

The product of sessions which took place in the winter of 2011, it is named after his teenage stomping ground in the centre of Colchester — an affirmation of that younger “same person” self.

In a wider sense, it serves as a nod to his Essex hometown — a city since 2022 — where he attended Stanway School, met Damon Albarn and where, in 1988, they formed Blur with Dave Rowntree and Alex James.

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It was there, too, that his band leader and clarinet-playing dad introduced him to music, namely, “the Bs — Beethoven and The Beatles”.

The album cover resembles a classic picture postcard, divided into quarters and depicting scenes from the park with its vast Norman castle and an ornate Victorian bandstand.

Coxon says: “There were a few occasions when me and a group of friends would stay in the park rather too long, get locked in and have to climb over the fence.

“I remember being slightly inebriated and dancing around the bandstand — and then, of course, there was the statue.”

He’s referring to the imposing bronze Angel Of Victory which stands atop the Colchester War Memorial at the southern entrance to Castle Park.

“I had some dangerous moments when I climbed up and gave that statue a kiss,” he admits. “I used to do it regularly — she was very beautiful.”

If that fearless act of youthful exuberance was an example of Coxon’s romantic nature, it’s clear that he carried it forward to the album that was shelved until now.

“It comes through,” he agrees, “even though there are songs about getting dumped.

“There’s a lot of processing my own romanticism on that album, but not in a heavy way.

“It’s reasonably light-hearted for the first half at least, even if it takes a tumble down to the most depressing song I’ve ever written [album closer All The Rage]. But that’s life, isn’t it?”

Looking back at ten tracks of “romance, break-ups, heartache and alienation”, he says: “When I was writing them, I was in a very problematic situation emotionally. Somehow, songs have a way of describing your situation more succinctly than whatever is going through your mind.”

In 2026, I’m happy to report that Coxon is in a much better place. It’s 10am when I’m connected via video call to the home he shares with partner and bandmate in The Waeve, Rose Elinor Dougall, and their daughter.

“You’ve got me before my brains kick in,” he warns me, but he soon warms to the task of talking about his music outside of Blur.

Aside from the imminent release of Castle Park, this year sees reissues of Coxon’s back catalogue, beginning with his debut album The Sky Is Too High (1998) and its follow-up, The Golden D (2000).

He’s also working on the third Waeve album with Rose, which he describes as “a lot less hard-edged” than 2024’s City Lights.

“It’s more floaty and summery,” he reveals, before reaffirming his romantic credentials.

“Lyrically, there’s a lot more affection. Rose and I go through life together and, sometimes, saying things in lyrics is the nicest way to show affection away from our normal hectic lives.”

But it is his “lost” Castle Park, with lyricism and songcraft as assured as anything in his solo repertoire, that we are focusing on. So, how come the album joined a legendary list that includes The Who’s Lifehouse and The Beach Boys’ Smile by lying dormant for years?

Coxon casts his mind back to 2011 when he headed to The Pool studios in Bermondsey with Ben Hillier, co-producer of Blur’s 2003 album Think Tank (made without Graham except for one track) and engineer on The Golden D.

He says: “It was really odd because I recorded 20 songs and ten of them became A&E [released in 2012], which was based around improvised bass lines.

“The other ten were weirdly different — more trad indie, jingle-jangly, with a bit of Sixties influence.”

Those songs, you may have guessed, were earmarked for Castle Park.

Speaking of parks, Coxon had form thanks to Parklife, Blur’s immortal hit with lyrics by Damon Albarn and music by the whole band, not to mention a vocal masterclass from Phil Daniels.

Despite a widely held belief, the song wasn’t inspired by Castle Park but, as Albarn once explained, by London’s Hyde Park where he used “to watch people and pigeons”.

It seems as if the Britpop icons’ 2012 reunion, which included a momentous Hyde Park show to mark the end of the Olympics, is the chief reason why Coxon’s next album didn’t appear.

That rapturously received performance led to Blur’s run of festival shows in 2013 and a new album in 2015, The Magic Whip.

Then Coxon moved on to mastermind soundtracks for Channel Four comedy drama The End Of The F***ing World as well as embarking on a sci-fi music/graphic novel project in 2021 called Superstate.

He founded The Waeve with partner Rose and, of course, reunited with Blur for their 2023 album The Ballad Of Darren and a tour including two barnstorming nights at Wembley Stadium.

In other words, while Castle Park gathered dust, Coxon kept himself busy.

He says: “I’m really not sure what happened. Maybe it was lack of confidence. Maybe I thought these songs weren’t fashionable and who would give a s**t?”

Over the years, however, his theory didn’t stand up as fans would repeatedly ask him to release Castle Park. “They even knew the name of the album.”

The clamour heightened when Coxon broke out some of the songs during live shows.

These include opening track Billy Says, a spiky three-minute slice of mod-pop, which finds him channelling his heroes, The Kinks and The Jam.

He says: “Ray Davies is the best songwriter we ever had, followed closely by Paul McCartney, and The Jam was a huge band for me. I thought that being a Jam fan elevated me as a person.”

Other tracks to receive a live airing were Alright, with its pithy putdowns of a love rival, a playful duet with Lucy Parnell called There’s A Little House, and gorgeous acoustic guitar-led Easy.

Of all the Castle Park songs, there’s one which Coxon is most proud of, the poised, richly atmospheric Isn’t It Funny.

“It came to me in the dream,” he says. “I had the chords and half of the chorus, I heard some words — and then I woke up. I thought, ‘My gosh, I need to make a quick note of this.’”

Isn’t It Funny contains the lines: “The sun made black her hair and the river her eyes. She needs no man, no sea, nor heather. She’ll change your mind and slip away.”

By way of explanation, Coxon says: “I realise that there’s always been this elusive feminine spirit or a goddess of nature in my work.

“I don’t write songs about this entity for my own excitement. They just come out.”

Then there’s the sublime Mélodie Pour Christine, a lyric-free classical piece for harp and strings with Lucy Parnell’s vocals serving as another instrument.

“That piece was important to me,” he says. “I devoted it to a French friend of mine — a wonderful person who I loved very much and is no longer with us.”

Another song that hits the mark is bleak All The Rage, which, he says, “communicates one’s despondency around the creative life — and that has got even worse 15 years later!”

If most of Castle Park is filled with distinctly English sensibilities, American influences arrive with a cover of When You Find Out by short-lived Seventies punk-pop trio The Nerves.

“It’s a great song, even Blondie would go, ‘Hey, this is a good one’. I just made it slightly less than perfect,” laughs Coxon.

Then there’s “an attempt at soul” with Forget Today which finds him employing his considerable saxophone skills and Ben Hillier providing Hammond organ. (Worth noting that Coxon played sax on Parklife.)

Dripping Soul ventures into territory occupied by Ennio Morricone’s spaghetti western soundtracks, “so it’s not exclusively weird south-east of England s**t”.

“I love westerns, particularly Sergio Leone films. A Fistful Of Dollars and all that,” says Coxon.

In the song, he is peering “beyond the veil” at the “souls of those cowboys who came from a place where life is cheap and death is taken for granted”.

With its galloping guitars, Coxon realised he couldn’t turn Dripping Soul into “a hanging out in Camden sort of thing”.

But he does believe that the house he shares with Rose in London is populated by the souls of dead people.

“I don’t even believe in ghosts, but I’ve seen them,” he reports. “So that’s a bit of a quandary.”

Coxon says he still likes to talk to dear departed loved ones: His mum, Christine, drummer Graham Fox, the Irish journalist who first wrote about Blur, Leo Finlay, and the head of Food Records, Andy Ross.

“I don’t really see them as gone,” he says. “I can still talk to them — they may have disappeared but they’re still fully alive in my mind.”

With that said, we return to 1998 when all those people were still with us — to the making of Coxon’s debut solo album The Sky Is Too High.

It was an unvarnished, largely acoustic affair featuring his own artwork and, as he explains: “It was recorded through really good gear but approach was quite raw.”

Sandwiched between Blur’s self-titled fifth album and its follow-up, 13, “It was done in a bit of a hurry — I wasn’t f***ing about.”

The project had begun when a neighbour asked Coxon to write a couple of songs for a film about Victorian bare-knuckle fighter Tom Sayers — setting wheels in motion that are still spinning.

He says: “That request turned into an addiction to writing songs and releasing them.”

So, how did his solo endeavours affect his relationship with his Blur bandmates. “They didn’t talk about it,” replies Coxon, “Though I did once catch Damon singing R U Lonely? He said, ‘That’s quite a catchy little tune’.

“Attempting to develop as a songwriter when Damon Albarn is your best mate is hard work. I mean, he’d already written some bloody good songs by then.”

Released in 2000, Coxon’s second effort, The Golden D, is very different — heavier, more abrasive and driven by searing electric guitars.

The mood changes with the funky Oochy Woochy, which tapped into Coxon’s fascination with Nineties’ fusion of hip-hop and jazz — a style developed by American rapper Guru called Jazzmatazz.

He says: “I’ve always liked that skinny beat stuff with James Brown loops or similar. Stuff like Public Enemy and 3rd Bass. Oochy Woochy is not a mickey take but a go at that.”

With physical releases of Coxon’s other albums still to come this year, there’s plenty more scope to revisit his solo journey.

Then, in November, he’s hitting the road for a UK tour, bringing the songs back to life still further.

Looking back on his output, Coxon says: “I think it has had a lot to do with my development as a person.

“You know, that anxiety-ridden creative weirdo who puts all this stuff out there.

“I guess that’s why I like Castle Park coming out — because now there are no secrets. You’ve got it all.”

GRAHAM COXON

Castle Park

4.5 STARS

• Also released: The Sky Is Too High and The Golden D

BBC sports editor Dan Roan quizzes Fifa president Gianni Infantino on the eve of the World Cup, after he told journalists to “chill” and “relax” over visa and ticketing issues.

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Residents in Tel Aviv voiced mixed reactions after Israel and Iran said they would halt strikes following a day of missile exchanges. While some wanted a stronger response against Iran, others said Israelis were ‘losing’, citing disruptions to daily life, schools and tourism.

Ali Louis Bourzgui scored an upset win for performance by an actor in a featured role in a musical for originating the role of David in the musical adaptation of the cult vampire horror film, “The Lost Boys.”

As viewers scrambled to keep their score cards straight — André De Shields was favored to take the trophy for his work in “Cats: The Jellicle Ball” — the 26-year-old Bourzgui went on to deliver the night’s most impassioned, and pointedly political speech.

He began by noting that, “Vampires represent those who have shunned their own humanity in order to achieve a non-existent sense of superiority. The billionaires will never find happiness from their money. The colonizers will never find fulfillment from the land and lives they steal. The fascists will never find meaning from their conformity, not in this lifetime or eternity.”

Through the cheers of an invigorated audience, Bourzgui went on to talk about how “theater is one of the last places people can come to worship the power of true collective human presence.”

At its best, he said, theater helps us see ourselves in a stranger’s story.

“This is dedicated to the beautiful tapestry of immigrant families who make this country really special. May you one day not have to audition for the empathy that should be freely given by this country that benefits from your beauty, for the queer and trans communities who will exist, no matter what people in power try to take away from them.”

Bourzgui, whose father immigrated to America from Morocco, went on to pay tribute to Palestine and his own Arab heritage.

“For the people of Palestine, who deserve a free life, a full life without occupation, for Arabs and their makers and artists, may we continue to tell our stories and show our faces. Our humanity becomes undeniable, and our families can no longer be written off as merely collateral damage, may they know the beauty of our kisses upon his cheek and the romance of a language rooted in passion for love and life itself.”

He wrapped up this speech with a plea for love and empathy.

“If there’s one thing we can learn from vampires, it’s that life is short, but that’s it’s a gift. Find beauty in the ephemeral and gratitude in what is not promised, and always invest in the people that want to see you blossom into your truest self, and hold that space for them in return.”

June 1 (UPI) — Rescue workers in Laos said they heard a knocking sound while searching flooded caves for villagers who went missing on May 19.

The search continues in the Xaisomboun province for two of seven villagers who descended into the caves searching for gold last month. The rescue workers said Monday they knocked on the cave walls and heard a “knocking response” from deep inside the cave system within the last 24 hours.

An eighth villager went into the cave with the group but was able to escape and alert of the seven others who were trapped.

“Yesterday, when we knocked, there was a signal responding back,” Kengkaj Bongkawong, head of Metta Tham Rescue Kalasin, a Thai rescue team, wrote on Facebook. “It was a knocking sound meant to be heard. Based on our initial assessment, this is considered not to be a reflection or an echo of the sound.”

The sound was discovered after the rescue team rappelled down a vertical shaft they had discovered. They report hearing a knocking response twice in the last 24 hours.

Flash flooding after the villagers went into the cave caused them to be trapped. Five of the villagers were rescued last week when a rescue team pumped water out of the cave to help them get out.

One of the villagers was trained to scuba dive and was able to swim out of the cave.

“Moving forward, it won’t just be a matter of sitting around waiting for water to be pumped out,” Bongkawong wrote.

Hollywood has been waiting for Kane Parsons since the year he was born. The 20-year-old director is the same age as YouTube’s first videos and grew up with no barriers between his creativity and an audience. “Backrooms,” his debut feature, marks the start of a new new wave of filmmakers raised by internet feedback who are ready to reinvigorate the industry.

Young Steven Spielberg screened his 8mm reels for his neighborhood. Parsons uploaded his early shorts online where he could analyze the mass response. When one, an unsettling nine-minute experiment about a warren of dingy carpets, taffy-yellow walls and gridded drop ceilings clicked with 78 million viewers, he made sequels. A24 offered Parsons a deal before he finished high school. He’s graduating into multiplexes having spent his adolescence writing, directing, editing, composing and market-testing what people want to watch. I’d toast to that, but Parsons isn’t old enough for Champagne.

Given that backdrop, “Backrooms” would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art. Working with screenwriter Will Soodik, Parsons has gone back into that banal maze to find an uncannily mature story about loss and stagnation, about how our self-serving narratives barricade us from emotional growth.

Set in 1990, “Backrooms” has the fritz of an old VHS tape. (Like so many other Gen Z kids, Parsons is nostalgic for a pre-smartphone era he never knew.) A failed architect-turned-furniture salesman named Clark (Chiwetel Ejiofor, superbly expressive) tumbles through a portal in his store’s basement to the backrooms of the title — less Alice in Wonderland, more Alice in Wonderbland.

“It’s like it was made by a bunch of construction workers on acid,” he muses. The hallways lead to more hallways, the overhead fluorescents whine like hornets. Someone — or something — has piled lamps and stools into the center of one room, scattered chairs in another and embedded shoes into the floor as though the ground were made of sand. The disorder looks like the wreckage of an unknown chaos. Aboveground, Clark is trapped in his own resentments, throwing temper tantrums like a toddler. Down here, frustration feels natural.

Should he be afraid? And if so, then what of?

Distant thuds warn that Clark isn’t alone. Soon after, three other characters follow Clark into this liminal space: his loud employees Bobby and Kat (Finn Bennett and Lukita Maxwell) and his exasperated therapist, Dr. Mary Kline (Renate Reinsve), who is haunted by flashbacks of her agoraphobic mother. There’s also a mysterious man in a lab coat (Mark Duplass) who works for a company that factors into the backrooms’ preexisting internet lore, but doesn’t have much purpose in this script. It’s fine just to see Duplass as a gesture toward corporate apathy. More beings will appear too and cinematographer Jeremy Cox’s deliberately low-fi look forces you to do triple and quadruple takes to comprehend what you’re even seeing.

How does a 20-year-old fathom adult-sized discontent? Lord knows, but Parsons does. One theory is that today’s 20-year-olds were just launching into teenhood when the pandemic teleported them from their classrooms to isolated computer screens. Meanwhile, they overheard their parents fret that society might be forever hollowed out. When a young person looks toward the future, what do they see? Probably not an office building bustling with entry-level jobs.

Think about how the act of buying a couch no longer involves interacting with a salesman like Clark, but peering at a pixelated living room that doesn’t actually exist with a couch that changes colors at a tap. Think about how lately the internet at large feels human-less. Then layer that emptiness over the images here.

Sparse yet gripping, “Backrooms” and its minimalist story accommodate the audience’s own free-ranging imagination. The infinite size of these drab catacombs triggers sense-memories of feeling small and confused in an ordinary place that feels all wrong. It’s a time travel trip back to childhood — mass entertainment made intimate — with Parsons tossing us scraps of Clark and Mary’s personal histories like a breadcrumb trail. I remembered what it felt like to get lost in a motel on a road trip with my grandparents. More recently, I tidied the home of a friend who was in the hospital, the pill bottles and crumpled blankets left in situ as evidence of someone else’s pain. “Backrooms” felt like that, too.

There’s an incredible special effects shot where the camera sinks through the floor of Mary’s living room to find a mutation of the same room — and then another and another — each replica deteriorating further from reality until it becomes a new room altogether that would fit right into the backrooms. This, we wordlessly understand, represents how memories of the past can be at once factually inaccurate and emotionally true. We’ve all been bewildered kids, Parsons more recently than most. Some of the most powerful people on Earth still behave like they’re stuck in that headspace.

Describing “Backrooms” as a horror film doesn’t feel exactly right. It’s a surrealist painting in motion, the equivalent of staring at Salvador Dali’s wasteland of melting clocks until it makes gut-sense. Dali made that famous masterpiece, “The Persistence of Memory,” in 1931, a breath-holding moment between wars when daily life looked normal enough but vibrated with the dread that no, things were definitely not OK. Kids don’t know that, but they vibe with Dali anyway because he keys into their suspicion that the world doesn’t really obey the rules.

That anxiety hums through “Backrooms.” It’s why millions of people watched and shared the original short. Yet as fraught as it sounds — and as abruptly as it ends — I left elated. A major new moviemaking talent has arrived and he’s the beginning of a movement. Other internet-honed young filmmakers will follow with their own fresh insights into genres like action, comedy and romance. Kane Parsons is just the first one through Hollywood’s labyrinth.

Mexico’s consulate in Los Angeles helps thousands of citizens each week, assisting them with registering births, obtaining passports and, increasingly since President Trump’s second term began, accessing legal help for loved ones who have fallen afoul of his administration’s immigration policies.

Although it serves the country’s biggest Mexican community, all 53 Mexican consulates in the U.S. provide services that make Mexican people’s lives easier — just like the nine U.S. consulates in Mexico improve the lives of Americans south of the border.

The U.S. State Department has launched a review that might lead to the closure of an unknown number of Mexican consulates. Although it hasn’t said why, the review is happening against the backdrop of the immigration crackdown, some thorny bilateral issues and far-right theories that the consulates have been interfering in U.S. politics and encouraging Mexicans to migrate northward.

Azucena Aviles, a 33-year-old mother who drove more than an hour to the L.A. consulate this month to renew her Mexican passport and get one for her daughter, said consular services are invaluable — especially in California, which is home to nearly 13 million people of Mexican descent, including an estimated 1.7 million who are in the U.S. illegally.

“It wouldn’t be fair if they messed with the Mexican people, especially with our support systems, which come from the Mexican consulate and which, in some way, help or protect our fellow Mexicans,” she said.

Trump has been exerting growing pressure on Mexico, with questions looming over issues including human rights, national sovereignty and regional diplomacy.

His administration has given only the broadest of explanations for launching its review.

“Department of State is constantly reviewing all aspects of American foreign relations to ensure they are in line with the President’s America First foreign policy agenda and advance American interests,” Dylan Johnson, assistant secretary of State for global public affairs, wrote in an email.

Among the possible reasons for the review is that it could somehow fit into the Trump administration’s immigration efforts to deport people in the U.S. illegally. The largest contingent of such people — an estimated 4.3 million, according to the Pew Research Center — are Mexican.

Relations between the two countries could also play a role, with Trump increasing pressure on Mexico in the run-up to free trade negotiations important to both nations’ economies, taking a more aggressive approach toward the U.S.’ southern neighbor and even threatening to take military action against Mexican cartels.

Mexican President Claudia Sheinbaum has avoided head-on conflicts with Trump and instead relied on diplomacy, including sending top officials to Washington and seeking to maintain a strong relationship with the Trump administration by cracking down on Mexican cartels. Sheinbaum and her predecessor have also been key allies in slowing migration to the U.S. and speeding up the deportation of other Latin American migrants.

But Sheinbaum has taken a firmer stance in regards to the deaths of Mexicans in U.S. immigration detention centers, calling them unacceptable and saying the conditions in such lockups were “incompatible with human rights standards and the protection of life.” She instructed Mexican consulates to visit detention centers daily to help ensure detained citizens are being held in safe conditions.

Relations rapidly deteriorated in recent weeks after the U.S. indicted several Mexican officials on drug trafficking charges, and two CIA officers died following an anti-narcotics operation in northern Mexico — American involvement that Sheinbaum said her government had not authorized. That drug raid raised uncomfortable questions in Mexico about the extent of U.S. involvement in domestic security operations.

Years of tit-for-tat tariffs between the two countries have also added strain.

A review of foreign consulates is “usually a sign that a bilateral relationship is in a very, very rocky moment,” said Arturo Sarukhan, a former Mexican ambassador to the U.S. In Mexico’s case, it comes at “the worst moment of the U.S.-Mexico relations” in decades, given all the current points of contention, he said.

Further straining relations is a theory being amplified by Peter Schweizer, a writer with a following among Trump loyalist who has claimed that Mexican consulates interfere in U.S. politics and encourage migration to the U.S. Experts say that although a few Mexican consulate officials may have sought to influence politics back home, there is no evidence of them interfering in U.S. elections.

In response to the State Department review, Sheinbaum said the idea that Mexican consulates are “playing politics in the United States is completely false.” She said the job of consulates anywhere is to “always protect” citizens.

Sarukhan too said that although consulates defend the rights of Mexican citizens, there is no evidence that they are interfering in U.S. elections.

Whatever the reasons for the consulate review, it has stoked worries.

During a weekly public forum at the L.A. consulate, a woman who didn’t give her name and whose husband had been in U.S. immigration detention asked for help finding him a lawyer, highlighting one crucial service consulates provide for their citizens.

An older man said he had heard about the review and asked about possible closures.

Carlos González Gutiérrez, Mexico’s top diplomat in Los Angeles, responded that, as Sheinbaum said, there would be “no reason whatsoever” for the U.S. to close a Mexican consulate.

Indeed, consulates would have significant, devastating effects for Mexican immigrants,” especially in isolated areas, said Ariel Ruiz Soto, a senior policy analyst for the Migration Policy Institute.

Every day, consular officials go to the Immigration and Customs Enforcement holding center in downtown Los Angeles to identify and interview as many detained Mexican nationals as they can.

González Gutiérrez, 62, begins every weekly public forum by noting how many detained Mexicans consular officials have interviewed since the immigration crackdown began in Los Angeles last June.

At that May 11 meeting, the figure stood at 1,940. Nearly half had deep roots in the U.S., he said. About 46% have been deported, 35% have children born in the U.S., 69% entered the country through a port of entry, 6% overstayed a visa and 2.5% requested asylum. Most were men, and many worked in construction, agriculture, gardening and the service industry.

He also disputed the claim that Mexican consulates are interfering in U.S. politics.

“We are guests of this country’s government, just as U.S. consuls are guests of the Mexican government. In that sense, we are neither activists nor spies,” said González Gutiérrez. “We carry out our work openly, within a pluralistic and democratic society.”

Pineda and Janetsky write for the Associated Press. Janetsky reported from Mexico City.

PLANO, Texas — As it turned out, it would never be enough.

U.S. Sen. John Cornyn tried for more than a year to show President Trump and Texas Republicans that he and the president were on the same team.

Cornyn posted a photo of himself reading Trump’s “The Art of the Deal.” He proposed legislation to rename a stretch of interstate in Trump’s honor. Perhaps most glaringly, the Senate institutionalist who long supported the filibuster reversed his position in a failed effort to advance voting restrictions that are a priority for the president.

None of it worked. On Tuesday, Cornyn became the latest in a line of Republicans who lost their primaries after falling out of favor with a president with little tolerance for dissent and a seemingly insatiable appetite for retribution. The four-term senator lost by double digits to Texas Attorney General Ken Paxton, who Trump endorsed last week as “a true MAGA Warrior.”

Cornyn, on the other hand, “was VERY disloyal to me,” Trump wrote on social media.

Trump’s intervention in the Texas runoff came after weeks of successfully backing primary challengers in Indiana, Louisiana and Kentucky as revenge against incumbents who broke with his agenda.

Cornyn’s attempt to avoid the same fate made even some of his supporters wince.

“You look at the positions he took to please the president and the groveling and whatever,” said former Sen. Jeff Flake of Arizona, a Republican and Trump critic who didn’t seek reelection during the president’s first midterm in 2018. “It was rather painful to watch.”

Trump took an uncommonly equanimous approach to Tuesday’s results the following morning.

“Congratulations to Ken Paxton on such a tremendous win, and to John Cornyn for having run a strong and powerful race but, more importantly, having had a truly great career,” he wrote on social media. “John will remain my friend for a long time to come, as we both watch Ken become a fantastic, common sense Senator, one who is respected by all.”

Cornyn started early with ad touting pro-Trump voting record

Cornyn’s loss wasn’t for a lack of political gymnastics and astronomical campaign spending.

His campaign began running an advertisement last summer — part of an astounding nearly-$100-million air war by the senator and allied groups — with Cornyn looking into the camera and saying, “I voted with President Trump 99% of the time.”

On Cornyn’s campaign homepage, Trump and Cornyn stand side-by-side with thumbs pointed upward in an image aimed at projecting solidarity. Deeper in the website, the category titled “The Trump-Cornyn Record” notes the senator’s role securing votes for Trump’s signature 2017 tax cut bill.

Cornyn has also been championing provisions in Trump’s signature tax-and-spending legislation to finance work on the U.S.-Mexico border wall.

The senator had dismissed the project as “naive” during Trump’s 2016 campaign. But in January, he stood along a section of completed wall in Texas’ Rio Grande Valley touting the measure’s $11 billion for Texas contractors’ work at “the direction of the president of the United States, to whom I am very grateful.”

Cornyn’s 2023 dismissal of Trump’s return glares in background

Cornyn’s praise for his party’s leader and president were not unusual, but they clash with a statement Cornyn made in May 2023, when Trump was mounting his presidential comeback campaign.

“Trump’s time has passed him by,” he told reporters. “I don’t think President Trump understands that when you run in a general election, you have to appeal to voters beyond your base.”

Trump would go on to easily win the nomination and carry every battleground state in the general election.

Cornyn would hew closely to the president for the first 16 months of his second administration, hoping at the outside chance of his endorsement or to keeping him from weighing in at all.

But Trump did not forget the past slights.

“John Cornyn is a good man, and I worked well with him, but he was not supportive of me when times were tough,” he wrote on social media while endorsing Paxton.

Smaller gestures, and one big one

Cornyn has playfully worked to promote Trump fandom, last year posting a picture on social media of himself thoughtfully peering into the pages of Trump’s 1987 memoir and business advice book, “The Art of the Deal.”

In a more obvious gesture, he proposed designating a section of a U.S. highway from the Texas Gulf Coast to Montana as “Interstate 47,” to honor a 47th president with a well-documented love of naming things after himself. In a news release about the proposal, filed just over two weeks before Tuesday’s runoff, Cornyn said it would be known as the “Trump Interstate.”

The more tectonic shift occurred in March, after Trump had teased a possible endorsement of either Cornyn or Paxton in the runoff.

Paxton swiftly said he would consider dropping his candidacy if the Republican-controlled Senate lifted the filibuster and passed the SAVE America Act, a series of voting restrictions that Trump has described as an essential part of his agenda.

The following week, Cornyn wrote an op-ed in the New York Post — Trump’s favorite hometown newspaper — backing away from his previous support of the filibuster. He vowed to “support whatever changes to Senate rules that may prove necessary” to get the bill “through the Senate and on the president’s desk for his signature.”

Flake watched with unease.

“I know John and his long-held positions on the filibuster and the Senate’s institutions,” he said. “No office is worth that.”

Beaumont and Bedayn write for the Associated Press. Bedayn reported from San Antonio. AP writer Mary Clare Jalonick in Washington contributed to this report.

The Canary Islands are experiencing a tourism crisis, with activists warning the coastline is unsustainable as locals say the ‘land is being destroyed and speculated on’

The Canary Islands have witnessed mounting demonstrations in recent years. Frustration has been building amongst residents, who argue the surge in tourism to the sun-soaked Spanish archipelago is unmanageable. They point to outdated regulations that allow property speculators to purchase land for hotels and holiday flats, while paying only minimal tax.

Consequently, Canarians claim they receive the lowest average salaries in Spain and face difficulties securing affordable accommodation. Yet now they have a further complaint against holidaymakers. The islands are suffering coastal erosion at an alarming pace. Campaigners say the Canary Islands’ coastline is on the brink of disaster.

Each year, based on a report from SOS Costas Canarias, approximately 21⁄2 miles of coastline disappears. Anne Striewe, the foundation’s director, states that hotels, apartment blocks, housing estates and marinas, amongst other structures, are being constructed on this “lost” territory.

The organisation cautions that throughout the eight islands, roughly 18% of the territory within the first 500 metres from the sea has already been developed. Beyond protected natural areas (PNAs), this figure skyrockets: it surpasses 40% on multiple islands and coastal sections, reaching 43% in Lanzarote and Gran Canaria.

Nearly 20% of the living space on the Canary Islands is dedicated to tourism – in comparison to around 4% on the Spanish mainland. Five municipalities on the Canaries possess more tourist beds than permanent inhabitants: Yaiza (Lanzarote), Pájara (Fuerteventura), Mogán (Gran Canaria), San Bartolomé de Tirajana (Gran Canaria) and Adeje (Tenerife).

Ms Striewe highlights that, beyond holiday accommodation, there is a vast array of tourist-related infrastructure including access roads, golf courses and desalination plants, which fail to show up in hotel occupancy figures yet remain part of the same problem.

Sharon Backhouse, director of GeoTenerife, told Sky News that the Canary Islands are a “biodiversity jewel in the Atlantic,” yet local authorities provide minimal protection for the islands’ natural habitats.

She warned that each year more “beautiful landscapes are cemented over” to make way for new tourist resorts.

She added: “The problem with these resorts is that we just don’t have enough resources in terms of water, what happens to all the rubbish, how is it all recycled.”

Carmelo Javier León, director of the UNESCO Chair in Tourism and Sustainable Economic Development at the University of Las Palmas de Gran Canaria (ULPCG), describes a conflict between those who wish to protect the islands’ natural beauty and “the development of ever more accommodation options.”

The authors of the SOS Costas Canarias report are demanding an immediate halt and the scrapping of planning permissions for undeveloped coastal land.

They argue that the seemingly relentless construction not only obliterates irreplaceable natural habitats and undermines the very scenic beauty that attracted tourists to the islands in the first place, but also dramatically heightens the risk of localised flooding. Approximately 80,000 inhabitants are already vulnerable to coastal flooding risk, yet almost half of flood-susceptible territory has already been designated for housing.

Irma Ferrer, a lawyer for Urban Planning Transparency and Civic Action Against Corruption, highlights that this demonstrates the institutions are failing to operate properly. “In urban planning and environmental matters, legislation is not enacted to defend the public interest,” she complains.

She added that the islands now possess an economy which is essentially “based on the destruction of the land and on speculation.”

Natalie King visited Transport for London’s lost property office, which holds about 80,000 items waiting to be reunited with their owners at any one point, including some truly bizarre things people have left behind

Sometimes the behaviour of my fellow humans confuses me, and no more so than when I’m standing in front of a selection of items that people have somehow managed to leave behind on public transport.

A handbag? Understandable. A passport or phone? Also easily lost from a pocket when changing tube lines. But I do wonder how forgetful you have to be to leave behind two dining room chairs, a taxidermied fox, or a 1980s-era wedding dress complete with giant puffy sleeves.

Transport for London (TfL) runs its lost property office from a warehouse deep in East London, and from the outside it’s typical of the kind of vast grey warehouses that you find tucked away on industrial estates. But inside, it’s packed with 80,000 perfectly catalogued and sorted items, each one trying to find its way home to its owner.

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I was taken on a tour of the facility by Diana Quaye, performance manager for the site, who oversees the meticulous cataloguing of every item that comes through the doors. And with around 5,000 items being left behind on buses, tubes, or the back of taxis each week, it’s a huge undertaking, with 44 staff in the office and warehouse.

Many of the items you find are things you’d expect. About 80 phones a day are logged by the team, with the IMEI numbers put into the system to help reunite them with their owners. Bags are searched for clues that could help match them to their rightful owners.

But amongst the colorful array of umbrellas and never-to-be-finished paperbacks, the team often digs up some unusual items that clearly have interesting tales behind them. And while most items that aren’t reclaimed after 90 days either end up in a charity shop or at auction, a few of the most unusual items make their way into the warehouse’s collection.

One member of staff who has seen their fair share of oddities is Marilyn Palmer, a property manager with 36 years of experience reuniting people with their belongings. She happily shares some of the more unusual items and the stories behind them.

“We had a park bench in that some guys on a stag do decided they would lift it from a park in Acton, try and get it on the tube, couldn’t get it over the barrier and then left it.”, she tells me. “We managed to get it back to the park because it had a plaque on it that was dedicated to a husband, so we contacted the council and got it delivered back to where it should be.”

Other unusual items include: “A double bed. And two massive 70-inch screens that were left in a taxi. The taxi dropped (the passenger) off, thinking he was coming back, and he never did. But they did come and claim them.”

And if you think a giant telly is an expensive thing to lose, Marilyn went on to tell me the story of their most expensive find to date.

“We got in a necklace and earring set, and it was in an old-fashioned, sort of like 1920s oyster-shaped box, presentation box. When we got it valued, we didn’t have an inquiry at the time; we thought I’d kept it aside just in case an inquiry came in later. The necklace alone was £125,000.

“It turns out a mother or grandmother had lent it to a daughter on her wedding day. They’d used the taxi to go to the airport, to go on their honeymoon. They then trawled back and we managed to find it. She was really grateful. She’s since passed away as well. She was just grateful to have it.”

It’s not just objects that get left behind. Sometimes it’s people. “We’ve had ashes over the years that we’ve managed to get back. One we had for seven years. And we finally reunited them with family in Germany,” she said.

“One of the office assistants working at the time was fluent in German, so every so often we’d get them out, and we’d try again, and she’d written a letter to them in German, and they managed to track with the information that we’d had. We finally managed to track them down and got them back after seven years,” she added.

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Sadly, not every item gets back to its owner. Diana tells me the return rate is about 12%, and that’s partly because people don’t know that they can ask TfL for help finding their property. She admits: “I think if I left my mobile phone or something like that before I worked here, I’d be thinking ‘oh my God, insurance’, I’d go through that whole process.

“But now, if I lose anything, I automatically go online and fill out a form because it’s more than likely it will be here, as you can see,” she adds, gesturing at the warehouse floor and the thousands of items waiting to find their way home.

Find out more about TfL’s lost property office here.

Have a story you want to share? Email us at webtravel@reachplc.com

A fragile ceasefire may have paused the US-Israeli war on Iran, but the economic cost is crippling the daily lives of Iranians. The US is blockading Iranian ports, while the price of goods skyrockets and businesses struggle to keep employees.

The BBC are to air a lost episode of The Morecambe and Wise Show, almost six decades after the initial broadcast, to coincide with Eric Morecambe’s 100th birthday

A long-lost episode of The Morecambe and Wise Show, first broadcast on the BBC in 1968, has been rediscovered and will be shown next month.

The episode, which first aired on September 16, 1968, will be re-shown decades later to coincide with when Eric Morecambe would have turned 100. BBC Four will also show a collection of sketches called The Perfect Morecambe and Wise to mark this moment.

The episode, which was thought to be lost forever, was discovered by Film Is Fabulous! – a charitable trust run by film collectors and television enthusiasts. It was found in the estate of a former television industry professional and has now been returned to the BBC.

This ‘lost’ programme is the third episode from Morecambe and Wise’s first series after returning to the BBC, following a period working with commercial television.

Noreen Adams, Director of BBC Archives, said: “Morecambe and Wise are one of the UK’s most loved comedy duos. Thanks to Film Is Fabulous! – We’re delighted to share this comedy gold that we thought was lost forever with viewers across the UK.”

The episode features sketches written by Sid Green and Dick Hills. Ann Hamilton appears as Pauline in a sketch set in a nudist colony, while Jenny Lee-Wright plays Eric’s niece, a balloon dancer. It also includes a musical performance from The Paper Dolls, who enjoyed hits in the 1960s.

Eric Morecambe’s daughter, Gail Morecambe, said: “What a lovely surprise this is, and I’m really looking forward to seeing it on a screen once again after so many years.

“It’s excellent to hear that skilled people are actively going through the Archives and discovering ‘lost’ programmes. Not just Morecambe and Wise, of course. I am especially thrilled that it coincides with my father’s centenary year. Really wonderful.”

Eric Morecambe’s son, Gary Morecambe added: “I’m so thrilled and surprised by the discovery of a Morecambe and Wise show that hasn’t been seen since 1968. I honestly didn’t think there was anything out there left to find, and when something like this comes out of nowhere, it’s really quite wonderful.

“Hats off to Professor Justin Smith and his team, whose dedication and hard work brought this gem back to us. I’m very excited about seeing it for the first time since I was twelve years of age.”

The Morecambe and Wise Show ran for nine series and became a regular fixture at Christmas on the BBC with a festive special, before moving to ITV for four series.

* The lost episode of The Morecambe and Wise Show will air on BBC Four and BBC iPlayer on Thursday May 14 from 8pm.

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AFTER literally breaking the scales, Alison Hammond has spent recent years vehemently denying fat jabs helped her to shed 13st. 

And we can reveal her astonishing weight loss is actually the result of an adventurous gym routine, a toyboy boyfriend and a £2.85 supermarket secret.  

A close pal said: “Alison was mortified when she stepped on the scales in 2020 and her weight was so high the sensor broke. 

“It stopped at anything over 29st, so she has no idea exactly how much she weighed back then. 

“It was a real wake-up call and she began a strict diet that day. 

“People are constantly accusing her of cheating and saying that she’s on fat jabs, but she’s not.

“They weren’t even around then.”  

Instead, the Great British Bake Off host, 51, has been munching on Itsu crispy seaweed thins — with just 24 calories in a pack.  

Her mate added: “When shoppers see her in Tesco the trolley is usually packed high with boxes of Itsu seaweed snacks.

“She eats about four packs a day.

“Instead of toffees she’s addicted to seaweed.” 

It is a far cry from the terrifying moment a few years ago that kickstarted her bid to get healthy. 

The scale shock prompted her to visit the doctor, who confirmed she was prediabetic and needed to slim down or face an early death. 

Being prediabetic — the point where your blood sugar is higher than normal but not high enough yet to be diabetic — genuinely terrified her as it can bring serious health problems.  

Following her doctor’s grave warning in November 2020, and in a desperate bid to reverse her diagnosis, the popular This Morning host made a plea to viewers live on air.  

Begging for help 

“I need some help,” she said bravely.

“I’ve really got to change my ways, if you guys see me out there buying sweets or chocolates, please I’m begging you, I’m not allowed to have it. 

“It’s serious now.”  

Viewers were quick to react, messaging the show in their droves with supportive comments and sharing their own struggles too.  

I thought, ‘I have to be an adult about this’. The sweets had to stop and the fatty foods.

Alison of changing her life

“Ali knew she was morbidly obese and was genuinely concerned that she was going to die,” says her pal.

“But the encouragement from viewers really touched her.

“It inspired her to make changes.” 

She previously said that her mother Maria, who died in January 2020 from lung and liver cancer, influenced her decision to overhaul her lifestyle. 

“My mum had type 2 diabetes,” she said.

“She was worried for me, so when I then found out I was prediabetic, that was frightening.  

“I thought, ‘I have to be an adult about this’. 

“The sweets had to stop and the fatty foods.”  

It was not the first time Alison had tried to lose weight.  

She had a gastric band fitted after a chair broke underneath her while she was interviewing actor Matt Damon in 2007.  

However, following the op, Alison experienced complications and “couldn’t keep anything down”. 

After two years, she decided to have the procedure reversed.  

Then, ten years later, she appeared on TV show Sugar Free Farm, which followed celebs as they embraced a sugar-free diet and farm work. 

While she managed to lose two stone on the show, the side effects from the sugar withdrawal left her feeling dizzy and sick.  

Now Alison, who is mum to Aidan, 21, works out three to five times a week with her personal trainers Lui Mancini and Ellis Gatfield.  

She combines strength training, boxing and Pilates rather than cardio and when she is busy working she enjoys walking.

A video posted by Lui displayed her hard at work with kettlebells, medicine balls and a punching bag. 

But no doubt also helping Alison’s confidence — and her weight loss — is her lover.  

She met David Putman, 29, a former Russian model, when she booked in for a massage in 2023.

The couple kept their relationship secret for about a year but now it is very much out in the open and despite the 22-year-age gap they are desperately in love.  

“It was pretty much love at first sight,” said her pal.

“She fell totally head over heels with David and he’s besotted with her.

“When you see them together it’s so sweet.

“He gets on really well with her son too.” 

But a change in her diet has had the most dramatic effect on her.

In a bid to reverse her prediabetes she has cut back on sweets and fatty foods — which has not been easy, especially as the host of C4’s Great British Bake Off, where she is surrounded by temptation.  

“Ali was completely addicted to toffees,’ says her pal.

“She would eat bags of them.” 

For people who need to use them, weight-loss jabs are a good thing. But for me, as soon as I hear any scare story, I get frightened.

Alison on using fat jabs

But these days she relies on seaweed.

The salty snack, combined with a rigorous exercise regime, has seen her weight drop to under 17st.  

She now drinks two litres of water a day and has a high-protein diet with lots of chicken and turkey mince bolognese.  

“She eats half of what she used to eat,” revealed her friend. 

Alison, who also hosts Your Song on Channel 4, previously told how weight loss jabs were not for her because she was “frightened” by “scary” stories surrounding them. 

She said: “For people who need to use them, weight-loss jabs are a good thing.

“But for me, as soon as I hear any scare story, I get frightened. 

“So I haven’t wanted to use them, but that’s not to say I wouldn’t in the future, and I certainly wouldn’t look down on anyone who did.” 

But industry insiders have warned there could be an issue if her slimdown becomes too extreme, especially as she vies for the presenting gig on Strictly.  

“There’s a fear that if she gets too skinny she might not be as popular with her fans,” said another source.  

Pals insist Alison has no intention of losing her curves or trademark sparkle.

Her journey has never been about fitting into a certain dress size but building a healthy life.  

During an interview on Loose Women last year, she summed up her attitude perfectly: “You know what, all I can do is be me.

“I can’t do anything else. 

“I’m a black, big, bubbly woman, who is slowly deflating a little bit.” 

Only time will tell if Alison’s next steps will be into the ballroom. 

But one thing is for certain, it will be seaweed, and not Ozempic, in her handbag. 

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.

(Museum Associates / LACMA)

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art

(Museum Associates / LACMA)

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art

(Museum Associates / LACMA)

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)

(Museum Associates / LACMA)

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

Lauren Halsey’s untitled 2026 sphinx.

(Museum Associates / LACMA)

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.

(Museum Associates / LACMA)

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

The company’s stock plunged about 8 percent on the news of Hastings’s departure.

Netflix Chairman Reed Hastings is leaving the streaming service he cofounded 29 years ago as the company regains its footing after it lost its $72bn deal for Warner Bros Discovery to Paramount Skydance.

In a letter to investors released on Thursday, Netflix said Hastings will not stand for re-election at its annual meeting in June and plans to focus on philanthropy and other pursuits.

The company’s stock plunged about 8 percent on the news of Hastings’s departure. The cofounder is credited with helping to revolutionise how movies and television shows are delivered in homes, upending Hollywood’s business model.

“Netflix is growing revenues double-digits, expanding margins in 2026 and gushing free cash flow,” said LightShed Partners media analyst Richard Greenfield. “While the Q1 was uneventful financially, the departure of Reed Hastings has spooked investors.”

Netflix reaffirmed in a 14-page shareholder letter that its mission remains “ambitious and unchanged” – to entertain the world, providing movies and series for many tastes, cultures and languages. The company’s full-year outlook remained unchanged.

The company did not say how it plans to spend the $2.8bn termination fee it received after losing the Warner Bros movie studio and HBO, and lifted its earnings per share to $1.23 in the first quarter compared with 66 cents per share in the same quarter last year.

Revenue rose to $12.25bn, an increase of 16 percent from the year-ago period, modestly exceeding analyst forecasts of $12.18bn.

Netflix, which long told investors that a Warner Bros acquisition was a “nice to have, not need to have” proposition, highlighted areas of future growth.

The company said its investment in expanding its entertainment offerings, with video podcasts and live entertainment – such as the World Baseball Classic in Japan – is driving engagement.

It plans to use technology to improve the user experience and improve monetisation, as advertising revenue remains on track to reach $3bn in 2026 – a twofold increase from a year ago.