lost

Justin Halpern had a best-selling nonfiction book, co-created “Harley Quinn,” is co-showrunner for “Abbott Elementary” and has recently published his first novel, “Get Lost.”

But today he wants to mostly talk baseball. He recalls rooting for the Mets as a child in San Diego because he was so enamored with Dwight Gooden’s “electric” fastball and his disappearing curve. He spills about the big game he blew as a tween when a simple throw to first went horribly awry, about the two no-hitters he threw at Point Loma High School, how his dreams of stardom went south while at San Diego State, about feeling bitter toward the game and then rediscovering his love for it.

This wasn’t just idle chatter. Baseball is integral to Halpern’s own character arc and to “Get Lost” both on the page and behind the scenes. Take that terrible error when Halpern was 12. Afterward, his father didn’t console him with platitudes. He told the boy to dismiss the “it’s just a game” pity from his coach and accept that for Justin it was a big deal and it made sense to feel awful, but that also meant he had something he felt passionate about.

That paternal talk helped less in the moment than down the road: Halpern’s struggling writing career exploded when he started tweeting his dad’s life advice and then, with his writing partner, Patrick Schumacker, turned those “S—My Dad Says” tweets into a best-selling book. (He’s acutely aware of how lucky he got but also says he and Schumacker were well prepared to capitalize on that opportunity.)

And that particular story, Halpern says, was “foundational” for “Get Lost.” The novel follows Lila Dixon, an acerbic, cynical baseball scout living a dreary and closed-off life in her 30s. When her mentally ill mother goes missing, yet again, Lila must return to the hometown she loathed to search for her, but this time she must also deal with her estranged father, John “Dix” Dixon. Dix was a baseball prodigy too cocky and flashy for his own good who now coasts through life on his long-ago heroics coupled with charm and an undeserved diet of luck.

Halpern’s father’s message resonated for this novel because Lila, who was neglected, abandoned and ultimately shuttled off to foster care as a kid, “has been wandering the planet without finding anything she gives a damn about. Now she needs to find something.”

Halpern quit baseball in college after an injury and the realization that he’d never make the majors. “Aside from talent, you have to be willing to do all these tiny little boring things every single day,” he says. “You have to be obsessive. I worked hard but I wasn’t willing to do that.”

The team’s assistant coach told Halpern it was the biggest mistake of his life and he’d “never make a penny writing” but writing was the one thing where he was willing to tackle the tiny little boring things needed to keep improving.

The adaptation of “S— My Dad Says” for television failed but he felt he improved with each successive show. He also didn’t give up when his first two attempts at novels were “terrible” with “nothing salvageable” in either attempt.

He learned to stop imitating his favorite writers. “I was trying to copy authors more skilled than I was and wasn’t taking the time to find my own voice.” And he strived to break the habits of writing for TV (although he’s quick to acknowledge that “Get Lost” remains dialogue heavy), including working alone. A perpetual collaborator who describes himself as “codependent,” going solo “was a huge challenge that almost shut down the novel a couple of times.”

He contemplated calling friends to run ideas by them when he got stuck but ultimately resisted. “If I didn’t figure out how to solve things myself I was never going to finish this novel anyway,” he says, adding with a laugh, “I’m definitely still codependent, but the novel forced me to venture into waters that I never would have gotten into on my own.”

The deepest of those waters came from learning he does not like exploring his emotions. “My wife probably learned this many years ago,” he says wryly. “Every time I need to sit in a feeling, I try to wiggle my way out of it and that’s probably really annoying for the people in my life. To make “Get Lost” work, he had to burrow into the “complex emotional stew” of Lila’s multiple traumas and make her journey feel earned. Each morning he’d take “epic walks” with his dog. “I’d just talk in the voice of the characters in my head, without it having anything to do with the plot.”

Creating Lila’s flippant father came easily, which is why Halpern refused to settle on Dix as the main character. He didn’t want to make Dix loathsome, but he also didn’t want to glamorize his behavior, thinking back to how he felt “The Wolf of Wall Street” made the sleazy finance bros seem too cool to many in the audience.

Writing a female protagonist, especially one who had so many reasons to be guarded, he didn’t want her to be too likable or to be sexualized or to have solutions come easily. “I didn’t want Lila to need to lower expectations of her father and just love the man for who he is but to realize the limitations of this man and not let that affect how she feels about herself.”

It’s easy to read “Get Lost” hearing Aubrey Plaza in Lila’s sardonic tone, and Halpern heard her voice, and others, while writing but kept reminding himself that he’d have no talented actress to add humanity to his dialogue.

“I knew there’d be no Aubrey Plaza here to save my ass,” he says, although he and Schumacker are now planning a movie adaptation. “I had to figure out how to create this complicated character myself,” Halpern tells me via video from the writers room in L.A. for “I Suck At Girls,” an upcoming Netflix series loosely based off another of his nonfiction books. Schumacker came in and dryly praised “Get Lost” by saying: “Justin knows words that I didn’t think he knew.”

Halpern is more self-aware than he lets on as becomes clear when analyzing his baseball journey — when he quit he admits he felt resentful. “I’d given so much time to the game and it owed me something, but hadn’t given me what I’d asked,” he reflects.

Several years later, he realized he needed to embrace the game for what it offered, not what he wanted. He started playing in adult leagues and became so invested that in his mid-30s, when a surgeon told him he’d torn his labrum, he said, “Is my career over?”

The surgeon asked, “Aren’t you a writer?”

Halpern recovered and, when he’s not joyfully coaching his kids’ Little League team, he’s still heading for the mound at age 45, thrilled with the challenges of outsmarting hitters and reveling in the social aspect of being on a team. “Even with a bunch of older people, there’s just something about sports that still really takes me to a higher place,” he says. “I’ve had a super blessed writing career, but the highest highs I’ve ever had are on a baseball field.”

Miller is a freelance writer in Brooklyn, N.Y., who frequently writes about movies.

A producer sued Netflix on Wednesday, alleging the streamer lost an unreleased copy of a new Nicolas Cage movie and seeking damages of at least $105 million.

Producer Simon Afram invested more than $45 million of his own money making “Fortitude,” a film that takes place during World War II and features actors including Cage, Sir Ben Kingsley and Ron Perlman, according to the lawsuit. The movie, described as “Ocean’s Eleven” meets “Inglourious Basterds,” is based on Operation Fortitude, an effort during World War II in which double agents set a trap for Adolf Hitler and his armies. The movie has not yet been released and is seeking buyers.

“Fortitude” had its own mystery last month when the drive that once held the movie went missing.

On June 15, Daniel Haido, an associate producer of “Fortitude,” dropped off an unencrypted copy of the movie for Netflix to view and instructed the staff to delete the files after the screening. Haido also told Netflix to notify him when the drive was ready for pick up, but Netflix was unresponsive to several efforts to pick up the drive, the lawsuit said. On June 25, Netflix notified Haido that the drive had been stolen.

“Unfortunately, someone stole a good amount of drives from our office desks this past week,” Sean Berney, a director for original film at Netflix, wrote in a June 25 email, according to the lawsuit. “We’ve been working through this with our security teams to no luck.”

Berney in his email offered to reimburse Afram’s company for the missing drive or create a new digital cinema package, according to the lawsuit.

But Afram in his lawsuit said the damage was much greater than that. He is seeking economic damages of at least $105 million, along with other costs.

“By losing control of the Film, Netflix destroyed that exclusivity and materially, if not completely, impaired the Film’s marketability,” his lawsuit said. “It is not fathomable that a sophisticated buyer would invest tens of millions of dollars to acquire the Film — and tens of millions more to market it — while facing the constant risk that it could appear online to be viewed widely for free at any time.”

Netflix in a statement said it is conducting an investigation and is offering to monitor piracy sites for any unauthorized distribution or sale of the film. The streamer accused Afram’s law firm of “hostile attempts to extort money from Netflix over this situation — including immediately demanding $165 million for the film rather than work with us in good faith.”

“Netflix disputes any claim that it bears the risk of loss for a film delivered without the proper industry-standard safeguards,” the company said in a statement. “While we do not own the rights to ‘Fortitude,’ we take content security seriously and have taken extra measures to support the filmmaker and his team.”

Akerman LLP, one of the firms representing Afram in his lawsuit, declined to comment, citing pending litigation. Johnson & Johnson LLP did not immediately return a request for comment.

Regarding Netflix’s statement, a spokesman for Afram said, “Our lawsuit speaks for itself.”

HM Passport Office has issued fresh advice on what to do if you find a lost passport

Brits heading abroad this summer are being warned that finding a lost passport is not simply a case of popping it in a postbox or trying to hand it back yourself. But there is one thing you have to do when you do eventually send it off.

HM Passport Office has issued fresh advice explaining what people should do if they come across someone else’s British passport – with officials warning that handling it properly could help protect the owner from identity fraud. The reminder comes at one of the busiest times of the year for overseas travel, when airports, railway stations, beaches, hotels and tourist attractions are packed with holidaymakers and the chances of passports being misplaced increase.

In a message on X, HM Passport Office said: “Found a British passport? A few simple steps can help us keep it safe.”

A passport is far more than a travel document. It is one of the UK’s most important forms of identification and, in the wrong hands, could be used by criminals attempting identity fraud or other forms of financial crime. That is why officials are urging anyone who finds a passport not to simply leave it where it is or attempt to return it themselves if they are unsure who the owner is.

Instead, HM Passport Office says it should be returned through the official process so it can be dealt with securely. People who find a British passport in the UK should complete the Government’s official Recovered British Passport form and send it together with the passport to HM Passport Office using the Freepost address provided.

Now for that one thing. The guidance advises cutting off the top right-hand corner of the passport before posting it. This prevents the document being used if it is intercepted while in transit, while still allowing officials to identify it and deal with it appropriately.

Anyone who finds a British passport outside the UK should send or take it to the nearest British Embassy, High Commission or Consulate. The official form asks where and when the passport was found, along with details from the document to help officials identify its owner.

The finder does not have to provide their own personal details if they do not wish to. According to HM Passport Office, following the official process gives the best chance of the passport being dealt with safely and helps reduce the risk of it being misused.

What to do if you find a British passport?

• Complete the Government’s official Recovered British Passport form.
• Send the passport and form to HM Passport Office using the Freepost address.
• Cut off the top right-hand corner of the passport before posting it, as instructed in the official guidance.
• If you are overseas, send or take it to the nearest British Embassy, High Commission or Consulate.
• You do not have to include your own personal details if you do not want to.

More details here.

The new series of ITV’s Long Lost Family begins with an emotional story of a search for a family.

A remarkable new series of Long Lost Family on ITV uses DNA technology and painstaking detective work to reunite two foundlings with family members they lost contact with or never met.

In December 1960, David Stevenson was discovered inside a locked apartment block in North-West London. He was found in the corridor up on the second floor, outside one of the flats. He was several days old and cold, but well fed. For Long Lost Family: Born Without Trace, 65-year-old David returns to the flats more than six decades on still with burning questions about why he was left in such a specific place and whether this provides any clues as to who his birth parents are.

David says: “This place is part of me and part of my identity, no question. This is where my story starts here, so coming back here is emotional. Babies are often left at a police station or a hospital. Whoever put me here…this is a locked private block. Were some of the other residents somehow involved? The WPC arrived and discovered me on the floor with people milling round.”

Although some residents were investigated by the police, enquiries failed to help identify David’s birth parents or link them to him. David was adopted by the Stevenson family and had a happy childhood in nearby Edgware. He grew up knowing about his start in life, but for a long time he wasn’t curious to know more.

“I did know that I was a foundling but as far as I was concerned I had a mum and dad and it wasn’t a problem for me.”

He now has three sons of his own. They reflect on the risks involved with searching – the answers could be upsetting. David is also conscious of the experience of his birth mother.

“If I find my birth mother and she didn’t tell anyone and she wasn’t keen on that secret turning up that would be hard because it would be rejection all over again. The consensus from the police doctor was that I was a result of an unattended birth. and that must be a traumatic experience for any woman,” he says.

With his sons now grown up, David remarried and now lives with his second wife Julie. In 2009 they launched a national appeal for information. Ultimately it did not provide answers, but it did mark the start of a decade of their own extensive investigative work.

Using the apartment building as their primary clue, they developed several hypotheses about the residents. More recently David has turned to searching through DNA, which revealed that he has both Dutch and French heritage. While this is a significant development, the search has stalled, leaving him still not knowing who his birth parents are. Thankfully the LLF team get a breakthrough on David’s search.

There is a strong connection to a particular Dutch family. Two family members, including a woman called Marianne agree to take DNA tests. The pair of them testing enables LLF expert Ariel Bruce to – with certainty – identify David’s birth mother. Her name is Petra and she sadly died in 2010. Upon seeing a photo of David, the family immediately see a likeness to Petra.

Show host Nicky Campbell travels to the Netherlands to meet with Marianne – David’s aunt and his first cousins Saskia and Bart. He wants to see how they are dealing with the news and to learn more about Petra. It transpires that nobody in the family ever knew that she was pregnant and gave up a baby in London. They are left with mixed feelings. They are desperately sad that Petra had to endure this alone but delighted to be able to meet their new cousin and welcome him into the family.

After finishing school, Petra moved to Paris to work as an Au Pair and was living there when David was conceived. This tallies with David’s French DNA and the thinking that his birth father is French. She then moved to London and subsequently parted with David.

She grew up in a strict Catholic household where news of her pregnancy would not have been tolerated. Marianne says: “It was parents after Second World War. They would be angry.”

Bart adds: “They were Catholic and they would also have been very concerned with what society would think of having a child born out of wedlock.”

The sad news that Petra has died is shared with David away from the cameras. French privacy laws mean that DNA testing is very uncommon in France and so Ariel and the team are not able to identify his birth father. Referring to the death of Petra, David tells host Davina McCall: “It’s a shame because it closed an avenue that might have been open to me.”

Davina explains that the nature of Petra’s relationship with David’s birth father is unknown, along with any possible connections to the building where David was found. She describes Petra’s strict upbringing in The Netherlands and explains that she never confided in her family about giving birth at 20. David is quite affected by learning that after returning to the Netherlands, she did not have any more children.

David says: “Oh wow. I find that surprising. And quite sad actually, you know, not having a family, having given up the one child that she did have.”

Davina then reveals that Petra has family members in Rotterdam who were all too willing to take DNA tests. She passes on a letter that they have written him, where they explain that they would love to meet and share as much information about Petra as they can. David is moved by this gesture.

He says: “To meet people close to Petra would be very nice. To put a name to my mother and a picture, it’s a profound feeling. That is amazing.

“I’ve often said I’m not looking for another family, you know. All I want to know is where did I come from? But seeing these[photos] and reading the letter, you know, I want to meet these people. Yeah, that’s as big as it can be.”

After travelling to Rotterdam and has an emotional first meeting with Marianne, Bart, Saskia and another first cousin Jan. They share details about Petra, her personality and interests. David concludes: “One of the most rewarding things…is to hear them talk about her, and, and it’s helped me form an idea of her character. I’m very excited abut the future. There was nothing but love from them.”

Petra’s sister Marianne tells him: “She would love you and you would love her.”

The other search on next week’s programme sees Sarah Gray search for her birth mother.

She was found inside a Leicester telephone box in June 1983. Just a newborn baby, she was discovered by a woman going to make a phone call. Now a mother herself of 3-year-old twins, she often reflects on her own beginnings. She had a very happy and fulfilling adoption but her start in life was never openly discussed.

“I think you know in your family the conversations that can come up freely, and I think there’s a time and a place for certain things and I didn’t push it.”

Returning to the telephone box she sees that it’s on a busy road where there would have been lots of passers-by.

Sarah, 43, said: “Whoever it was has left me in a public phone box right next to a bus stop, next to a community centre… they definitely wanted me to be found.”

The search team make incredible strides with Sarah’s case and identify her birth mother. Davina is able to finally bring Sarah some answers about who she is and where she comes from, Sarah’s mother – who is alive – wants contact and a meeting to be done off camera.

* Long Lost Family: Born Without Trace Series 8 begins on Monday night at 9pm on ITV and ITVX.

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TUCKED away in the mountains of Malaga is a tiny village that was abandoned for five decades.

El Acebuchal was only rediscovered in the late 90s and brought back to life.

The little white-washed village was once used by travelling merchants for hundreds of years as a place to meet and transport goods between the Costa del Sol and Granada.

The village was small and home to around 200 people.

But in 1949, the village was officially closed by the Spanish leader at the time, Francisco Franco.

He believed that those who lived there opposed his regime, so he sent officials in to disperse the village residents.

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It remained a ghost town until 1998 when Antonio Sanchez or ‘El Zumbo’, who once had ancestors in the village, moved there.

He and his family began to rebuild houses where everything was restored by hand.

The village didn’t even have running water or electricity until 2003.

Now, the village has around 30 homes, a chapel and restaurant called Bar El Acebuchal which is actually run by Antonio Sanchez himself.

It’s slightly off the beaten track according to diners, but well-worth it for the food.

Lots of the homes are holiday rentals – there’s also a B&B in the village called ‘The Lost Village el Acebuchal’ which is highly-rated on Tripadvisor.

It has just three rooms along with a roof terrace, seasonal outdoor pool and there are even spa services.

One visitor described it as “a 1950s movie scene” and another described it as a “hideaway”.

The village isn’t overly modern with limited phone signal.

A popular hiking route is between Acebuchal and Frigiliana which stretches on for about eight miles.

Frigiliana is another place to add to the list, as it is considered one of the most beautiful villages in Spain.

It has white-washed buildings, bright blue accents, terracotta tiled rooftops and mosaic streets.

The steep paths are lined with colourful plant pots full of greenery with blooming flowers like the classic Mediterranean pink bougainvillea.

The town was built on top of a hill so it has incredible views of the Costa del Sol and Mediterranean Sea.

Built in 1875 and modelled on the Chapelle Saint-Marc in Lyon, the church was originally intended to be the chapel for St Joseph University, which was opened by French Jesuits as part of France’s colonial-era “civilising mission”.

Its pale stone facade rises above a busy Beirut street. Today, it remains under Jesuit stewardship, with Father Michael Petro leading the parish.

“It’s an interesting space, because it is on the edge of Ashrafieh, a predominantly Christian, francophone area, which has plenty of wealthy Lebanese people living in it. But it also has their domestic workers. From the start of the first waves of migrants in the 70s, this place became known as a place for them,” he tells Al Jazeera.

Every Sunday, during peacetime, the gravel car park is transformed into a cricket ground. Indian and Pakistani migrant workers play softball cricket while families sit on the sidelines sharing home-cooked food, catching up with friends and enjoying one of their few days away from work.

Today, the atmosphere is very different.

Instead of the crack of a plastic bat and Bollywood music spilling across the church grounds, rows of mattresses line the floors, and laundry hangs from railings. Men slouch on plastic chairs littered around the church, scrolling through their phones. Women carry blankets and washed clothes in plastic tubs. Only the children seem able to break the subdued mood, darting between adults and filling the space with bursts of laughter.

“When the war escalated, we immediately had large groups of Sudanese and South Sudanese come here,” Father Michael says. “They showed up because they would ask community leaders what to do, and were told to come here, as it is the first place they trusted.

“On one hand, that’s very beautiful, because people thought they would be welcome here, and they were.”

However, the strain of being a first port of call for so many displaced migrants is beginning to show.

Supplies are low, and tensions occasionally flare among those sheltering at the church. Father Michael says the church reached its capacity of 250 people on just the second day of the war.

“We’ve turned away more than 100 people in the last few days,” he says. “It’s a disaster.”

Mohammad says daily life has become increasingly difficult, particularly since the arrival of their son.

“We do not have enough clothes, especially now that the baby is growing. Also, my wife’s nutrition is not great. Sometimes she gets constipated, and then the baby becomes ill. We need more protein and vegetables. The diet is a huge concern.”

Living in crowded conditions, surrounded by uncertainty, has taken a toll on people’s mental wellbeing, Rufaida says.

“Because of the atmosphere and mental health problems, small problems become big ones. I said good morning to someone, and they didn’t like it. There are no big fights, but there is an underlying tension.”

Both say they understand why tempers sometimes fray. Many of those sheltering at the church have fled war, lost homes and spent months or years living with uncertainty.

Small problems become big ones.

by RUFAIDA, DISPLACED SUDANESE MOTHER

Their gratitude is rooted partly in what happened when Rufaida sought maternity care.

At Karatina Hospital, they say they were repeatedly overlooked by doctors in favour of Lebanese patients. “We were there to get papers so she could give birth in that hospital, but we were ignored, and Lebanese people were allowed into consultations first,” Mohammad says.

After waiting for three hours, a worker from the Jesuit Refugee Service (JRS), who had accompanied them to the hospital, intervened and helped ensure they were seen.

Through support coordinated by JRS and partner organisations, the entire cost of Rufaida’s pregnancy was covered, including prenatal care, the cesarean delivery and Ahmad’s vaccinations.

“It gave me comfort and peace that I was able to deliver in a safe environment,” Rufaida says.

Their experience is increasingly common among Sudanese migrants in Lebanon, many of whom have found themselves uprooted more than once — first by war in Sudan and then by conflict in Lebanon.

Rufaida’s story is far from unique. According to figures published by the International Organization for Migration (IOM) in August 2025, there are 164,097 migrants living in Lebanon, of which 14,854 are Sudanese nationals.

That number represents only a small fraction of the 4.4 million Sudanese who have fled their country since the outbreak of civil war in April 2023.

Some, like Rufaida, arrived on tourist visas. Others found jobs as concierges or domestic workers, under Lebanon’s kafala sponsorship system, which ties a migrant worker’s legal residency to their employer.

Human Rights Watch has described the system as, at its worst, a form of modern slavery.

About 3,800 Sudanese have also found asylum in Lebanon as registered refugees with the UN Refugee Agency.

For refugees in Lebanon, a UNHCR registration card can mean far more than a piece of paper. It offers a measure of protection from detention or deportation, can unlock access to aid and education where services exist, and, for many, represents their best hope of one day being resettled in another country.

Among them is 30-year-old Roudaina Mustafa.

The Broad’s “Yoko Ono: Music of the Mind” is more mind than music. She opens your mind; you make the music. Look into an empty “Box of Smile” and maybe you will. “Give Peace a Chance” — of course.

She breaks, and she mends, and not just your mind. Something tells me the Broad won’t go along with Ono’s “Collecting Piece II” from 1963, which has the following instructions: “Break a contemporary museum into pieces with the means you have chosen. Collect the pieces and put it together with glue.”

That’s a smile piece, too, although Ono looks all business holding a crystalline hammer on the catalog cover photo. I still smile when I recall how her piece for an orchestra that asks the players to bang their heads against a stage wall utterly delighted an audience and musicians at a performance in New York. Only Ono remained deadpan.

There were more smiles Saturday evening when The Broad, in collaboration with REDCAT across the street, presented a program of two Ono performance pieces. It began with six members of the Los Angeles Chamber Orchestra playing Boccherini’s First Sextet. This happens to be the first work ever written for pairs of violins, violas and cellos, as an expression of freedom that, in 1776, felt revolutionary.

Perhaps that is why LACO chose the Italian composer to represent a contemporary revolutionary artist in the wake of our 250th July 4. The actual piece being performed was Ono’s “Sky Piece for Jesus Christ,” in which she instructs an orchestra, whatever size (although she tended to like something larger than a sextet), to begin by playing a work, say, by Mozart.

It doesn’t much matter what is chosen, because at the premiere in a 1965 Fluxus concert at Carnegie Recital Hall, Ono and a couple of colleagues crept on stage and began wrapping the musicians in gauze. After a few minutes, they could no longer play.

Amusing, yes, but this is also an act of silencing, maybe even passive-aggressive violence. You smile (and a player or two at REDCAT couldn’t suppress a smile), but you don’t feel so hot doing so.

Members of the L.A. Chamber Orchestra covered in gauze while performing Yoko Ono’s “Sky Piece to Jesus Christ” at REDCAT.

(Gina Ferazzi / Los Angeles Times)

There is, in fact, more to this “Sky Piece” than meets the smile. Ono meant Jesus Christ to stand for John Cage. Cage was a key inspiration for Ono’s art. When the Beatles broke up and Ono and John Lennon moved to New York in the late 1960s, they first wanted to be as far from the limelight as possible, Ono having been demonized in the popular press over supposedly breaking up the Beatles (she didn’t!!!!). Cage found them a small two-bedroom apartment next door to him and his partner, Merce Cunningham, in their modest West Village building (a significant fact curiously ignored in the otherwise illuminating new documentary “One to One: John and Yoko” about the couple’s new New York life there).

Ono and Cage had a long, meaningful but not always easy relationship. Cage, who wrote music to suppress his ego, had a problem with Ono’s exhibitionism. In 1962, he dedicated a piece to Ono titled “0’00” (4’33” No. 2),” an Ono-like composition with a single sentence of instruction: “In a situation provided with maximum amplification (no feedback) perform a disciplined action.”

Cage later added other qualifications. One insistence is that the action should fulfill an obligation to others. However much Ono’s “Sky Piece” comes across as a playful Cage rejoinder, Ono did, the year before in Kyoto, create what could be called a version of “0’00”,” although an actual silent piece.

This is her famous “Cut Piece,” which the performance artist known as MPA performed at REDCAT following “Sky Piece.” It was clearly the draw that caused the program to be sold out months in advance.

There are many meanings that have been inscribed to “Cut Piece,” in which Ono invited the audience to come on stage and, with a pair scissors, cut off a small piece of her dress. Along with questioning social and sexual taboos, feminism and acts of aggression, Ono also confronts her own issues with ego from a Buddhist perspective, just as Cage had.

“Cut Piece” has a central place in Ono’s work as do film clips of her performing it in the Broad exhibition. Ono sits without a trace of emotion as she is stripped bare. Attention is directed away from her to the cutters. But the action is nullified by the fact that Ono assumes the stoic posture of the Buddhist monks seen in the news at the time setting themselves aflame in protest of the Vietnam War.

War had, indeed, inspired Ono in her shocking, exhibitionist (however ego-denying) disciplined action. It’s fulfillment of an obligation to others is, like so much in Ono, a two-edged sword forcing us — be we active cutters or passive observers — into contemplation of violence.

MPA’s performance was extraordinary. She introduced “Cut Piece” by noting that in Ono’s six performances over a half-century, the last in 2003 in response to the Gulf War, anger had turned into something more gracious. It was her way of saying to a new generation, give peace a chance.

To begin her own performance, MPA announced that she has retained Ono’s intent to perform “Cut Piece” in time of war. She said take the square of clothing and honor it, let it mean something to you.

At the few performances I’ve seen of “Cut Piece,” there has typically been audience hesitation at first. Not this time. What looked like almost half the full house immediately walked on stage and lined up. In the age of Instagram, everyone’s 15 minutes of fame has turned into an eternity. The cut piece of fabric — a custom garment designed by Victor Barragá — becomes proof of not missing out.

Most cutters approached MPA self-consciously as if walking to a casket at a funeral, although a few acted more like performers themselves wanting to be seen. Through it all, some 40 minutes, MPA didn’t move a muscle. It was as if she had abstracted herself from scissors and spectators, projecting not so much courage as strength. She inspired silence.

An evening that had begun as silencing a smiling sextet ended in a sublime effort to open the mind beyond body and music to give peace a chance.

EAST RUTHERFORD, N.J. — This summer’s World Cup will be remembered for a lot of things.

It was the first to be played in three countries, the first with 48 teams and the overall attendance nearly doubled the previous record. Norway’s Erling Haaland and Cape Verde’s Vozinha were captivating while Egypt and Canada both won World Cup games for the first time, advancing to the Round of 16.

And Spain, glorious Spain, gave up just one goal in eight games to dethrone the reigning champions and become the first nation in history to own both the men’s and women’s World Cup titles at the same time.

But the tournament will also be remembered for a classless and churlish Argentina, which forever stained itself with a thuggish performance in the game and an ungracious one afterward.

If La Albiceleste had simply kept its composure it would have secured a place next to Brazil and Germany, the only other countries to reach three finals in four World Cups, as one of the greatest teams of all time. Instead, some of its players turned the postgame handshakes into a brawl, with Argentine midfielder Leandro Paredes drawing a red card for grabbing Spain’s Eric Garcia by the throat and shoving him to the turf.

It was believed to be the only red card ever handed out after a World Cup final, and the ignominy it brought was well-deserved. But the childishness was just beginning. When Spain assembled on the podium to accept the World Cup trophy, which had been Argentina’s moments earlier, the South Americans turned their backs.

More than an hour later Lionel Messi, who has cemented his stature as the greatest player in World Cup history, soiled that status by leading the players out of the locker room and through a back exit to the team bus, avoiding the media many had been so eager to speak with during the team’s unbeaten run to the final.

Argentina’s Nahuel Molina, top, reacts after Spain won the World Cup final between Spain and Argentina in East Rutherford, N.J.

(Pamela Smith / Associated Press)

It was an attack on class and decorum as well as violation of FIFA rules, which require players to leave the stadium through a “mixed zone” accessible to media. They are not required to stop or speak, but certainly someone owed some accountability to the tens of thousands of fans in Argentine jerseys who packed Times Square and MetLife Stadium over the weekend and the millions in Argentine who filled plazas and town squares to watch the team play.

“We’ve been great in victory and we need to be great in defeat,” Argentine coach Lionel Scaloni said moments after Paredes was booked for assault. “We have shown today that we know how to lose, too. We lost the game and we accept that.”

Scaloni, who did address the media, later broke down in tears.

“I already cried all the tears I had in the dressing room,” he said in Spanish.

Scaloni, 48, may be out of a job when his contract expires in December, but his message for the fans was don’t cry for me, Argentina.

“It is hard to ask people to enjoy this equally. It is very hard to convince people that this is a triumph,” said Scaloni, who has lost just twice in 15 World Cup games.

“When you win, not everything is good. When you lose, not everything is bad.”

But while Argentina was being petty and petulant, Spain was practically perfect in every way. Not only did it concede just one goal in the tournament, it held Argentina without a shot into extra time Sunday — the first time that’s ever happened in a World Cup final — and ran its unbeaten streak to a record 38 games overall.

The win, which came on substitute Ferran Torres’ goal moments into the second extra-time period — and less than 20 minutes after Argentina was reduced to 10 men when Enzo Fernández was given a second yellow card for a foolish tackle — not only made Spain the first country to be the men’s and women’s world champion at the same time, it also made it the first to be the men’s world, European and Olympic champion at the same time.

No country in history has dominated the sport as Spain is dominating it now. And since Spain is the second-youngest team to win the World Cup in 56 years, La Roja could be on top for some time.

“After the match, some of the players who have been with us the longest asked me ‘coach, what is left for us win? We’ve won everything,’” said Spain’s manager Luis de la Fuente. “I told them, well the next match in September.”

That’s a UEFA Nations League match with England, which finished third in this World Cup. A little further down the road is the 2030 World Cup, which Spain will co-host, making it the first country in history to defend its title at home.

“When you arrive at a moment like today and think about the journey we’ve taken, you realize the importance of that process,” said De la Fuente, a former youth national team coach who managed many of the players on the World Cup team — among them Dani Olmo, Mikel Merino, Mikel Oyarzabal, Unai Simón, the tournament’s top goalkeeper, and Rodri, tournament’s top player — to U-19 and U-21 European titles.

“We certainly wouldn’t be here today — we wouldn’t have achieved anything — without the journey we’ve shared with these players,” the coach continued. “We have that raw material, those wonderful Spanish footballers. And they way they compete, that is what brought us here.

“That goes back many years.”

De la Fuente, soft-spoken and professorial, is also scrupulously polite, an example many of his players follow. And while it is undoubtedly easier to display grace and dignity in victory than it is in defeat, the difference in the way Argentina and Spain exited the World Cup was far greater than the gap that separated them on the scoreboard, something De la Fuente unwittingly highlighted in speaking about his team late Sunday.

“It seems people were surprised that, alongside talent and brilliance, good people can also play the game,” he said. “This proves that it is possible; that good, supportive, generous people with strong values can form a genuine team.

“We played against the best national teams in the world, yet we were the best team. We demonstrated that a team built on good people — supportive people, people who hold values and principles that prioritize the common good over individual interests. Traveling with people like that makes for a better, safer journey.”

In Spain’s case, it also makes a World Cup champion.

Staff writers Eduard Cauich and Jad El Reda contributed to this story.

One year ago, when tickets first went on sale for “The Odyssey” in Imax 70mm, nearly every screening sold out instantly.

The unprecedented ticket mayhem built hype — not just for the film, but for the format. By the time a second round of tickets were made available last month, buyers swarmed with such frenzy that they crashed the AMC Theatres app.

In Los Angeles, home base for cinephiles of every stripe, scoring one of these coveted opening weekend tickets was particularly challenging. Much of the excitement revolved around the fact that “The Odyssey” was the first feature shot entirely on Imax 70mm film, a technical achievement that involved the invention of a new camera.

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Want to see The Odyssey in 70mm but couldn’t get tickets? Glendale’s historic The Alex Theatre has you covered.

For 28-year-old Van Nuys resident Chase Stanley, who tried and failed to secure a ticket, that milestone was top of mind.

“Ultimately, I’m just jealous that I’m not included,” he said. “Since it’s the first movie to capture the whole thing in 70mm Imax, it’s my due diligence to see it like that.”

Despite the enthusiasm from moviegoers, film projection has been considered a dying art since most movie theaters worldwide switched to digital projection in the early 2010s.

More than a marketing tactic, the scarcity of tickets for Imax 70mm screenings underscored both the dearth of theaters capable of projecting films in the premium large format — only 41 — and projectionists with the requisite skills.

A number of renowned directors, including “The Odyssey’s” Christopher Nolan, prefer to shoot on film and strongly encourage analog viewing. But because few theaters own the necessary equipment or employ full-time projectionists, coordinating a release as massive as “The Odyssey” is its own arduous journey.

Jimmy Gonzales is Cepheus, left, Matt Damon is Odysseus and Himesh Patel is Eurylochus in “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Venues new and old

There are 25 theaters in the United States showing “The Odyssey” in Imax 70mm, eight of which are located in California. One of L.A.’s favorites is the Universal Cinema AMC at CityWalk Hollywood, where veteran Imax projectionist Taylor Umphenour has worked for the last three years.

On his Instagram page, Umphenour shares “projectionist POV” photos and videos with more than 22,000 followers, giving them a unique glimpse into the projection booth for movies like “Sinners,” “One Battle After Another” and “Project Hail Mary.” His company, Film Leader Co., supervises film restorations and runs technical operations for a smattering of cinema houses across the country.

In addition to his work at CityWalk, Umphenour has been busy for weeks overhauling the projection setup at the historic Alex Theatre in Glendale.

Releases such as “The Odyssey” have renewed interest in film projectionists and specialty theaters, including the historic Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

The 100-year-old venue opened in 1925 as a vaudeville and silent movie house where Walt Disney previewed his animated shorts, but it changed identities many times over the course of its history. Now, Umphenour and his team are working with Miles Williams, the theater’s artistic director, to transform it into a “premier cinema house” in time for “The Odyssey’s” release. It marks the first time the theater has been used for a first-run film release since “Terminator 2: Judgment Day” in 1991.

“What better opportunity to relaunch this venue than to open with Christopher Nolan’s ‘The Odyssey’? That’s why this project is on such a tight turn,” Umphenour said.

His team built an entirely new, massive booth in just three weeks to house sound equipment and projectors capable of running both 35mm and 70mm film. To secure the Alex a last-minute 70mm print of “The Odyssey” — which costs tens of thousands of dollars to manufacture, ship and distribute and runs about four miles long — Umphenour relied on his relationship with distribution executives at Universal.

The Alex will screen the movie in 70mm, which uses the same film stock as Imax 70mm but runs vertically instead of horizontally, making each physical frame roughly three times smaller than its Imax counterpart. Audiences seeking the larger-than-life Imax experience will have to look elsewhere — like CityWalk — but Umphenour believes that analog screenings will still draw a crowd.

“What’s special about these — about running on film, about running 70mm, about handling premium large formats — is that it does remind people how much they love going to the movies,” he said.

“What it’s all about is expanding that sense of scope and horizon, the analog color, that sense of immersion.”

Not a job for ‘popcorn projectionists’

In advance of “The Odyssey’s” release, Imax contracted 130 experienced projectionists and required each to attend an intensive, weeklong training program.

“I’ve said for years that the projectionist is the last performer in a long chain of people that started with an idea,” Umphenour said. “They are the final person to deliver the vision of the filmmakers to the audience, and therefore, one of the most crucial.” Far from simply pressing a button, film projectionists must actively guide a screening, threading and splicing reels and closely monitoring for mechanical issues.

But thanks in large part to the dwindling number of theaters projecting analog film since 2013, finding capable, actively working projectionists for releases like “The Odyssey” can be a struggle.

Sean McKinnon, director of specialty presentations and AV integration at Boston Light and Sound, is in charge of hiring these projectionists for about 60 venues across the country screening “The Odyssey” in 70mm. He did the same for “Oppenheimer” in 2023, which had the longest theatrical window of the year.

“It was pretty challenging finding people for ‘Oppenheimer,’ especially because the film was so amazing, it was in theaters for so long,” he said of the 122-day release. Staffing projectionists for “The Odyssey” has been “definitely easier,” he said, as the “word has gotten out.”

The talent pool McKinnon pulls from includes theater managers, retired projectionists, trainees from specialized college programs and even workers in other professions who take PTO for the occasion.

“We get people from really all walks of life,” he said. “It’s a special event and people want to be a part of it.”

Taylor Umphenour checks the projector’s focus at the historic Alex Theatre in Glendale.

(Allen J. Schaben / Los Angeles Times)

Outside of big cities, the lack of local projectionists also means McKinnon’s company has to fly people to Morrow, Ga., or Valley View, Ohio, for instance, to run the booth for the duration of a film’s run.

Leah Saint Marie, a filmmaker and former projectionist at the Vista Theatre in Los Feliz, attributed the staffing struggle to the experience and knowledge divide between hobbyists and experts.

“Training is pretty easy if you want to be what they call a ‘popcorn projectionist,’” she said. They “can thread the movie and push start, but if there are any mechanical issues, they can’t fix it.”

“I don’t think anybody who’s going to run a 70mm Imax are popcorn projectionists, because it’s very technical,” she added. Each Imax film print of “The Odyssey” is 11 miles long and weighs roughly 600 pounds.

The most recent data from the U.S. Bureau of Labor Statistics estimated that in 2023, there were 2,610 motion picture projectionists employed in the U.S. — an increase from 1,900 in 2022. In 2012, the BLS estimated roughly 8,000 projectionists and predicted the number would decline by 26.5% in the next 10 years — but it ultimately decreased by 76%.

“If you want to maintain expertise in the field, what you want are enough [movie] theaters out there running film that somebody can try their hand at it and get better,” Umphenour said.

Why film matters

Could the overwhelming audience demand for Imax 70mm screenings translate into a resurgence of fully equipped theaters? According to Imax Chief Executive Richard Gelfond, it’s more complicated than that.

“The problem is they haven’t made new Imax film projectors in about 50 years,” Gelfond told Variety on Wednesday. “We build new projectors every day, but film projectors, using this film, it’s not practical. So we’ve got to find them and retrofit them and rebuild them, which is what we did for ‘Odyssey.’ But can all 2,000 of our theaters be film projectors? No. There’s just not that many around.”

That said, Cinemark reportedly installed Imax 70mm projectors at three of its theaters ahead of “The Odyssey’s” release, and there are 11 more theaters projecting “The Odyssey” in Imax 70mm than there were for “Oppenheimer.”

Cinema engineer Justin Dennis is working with projectionist and production manager Taylor Umphenour to build a new projection booth capable of running both 35mm and 70mm film at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

Saint Marie recalled working as a projectionist in Pennsylvania during the period when most theaters transitioned from film to digital. While training at a new theater, she was surprised to find an old film projector still stored in the booth, and even more surprised to learn it was for Nolan’s sake.

“When he releases a [movie] on film, we have to have the projector. A lot of places around the United States kept their projectors specifically for Nolan,” she said.

Nolan isn’t the only director with an affinity for large format film and analog media. Quentin Tarantino, Paul Thomas Anderson and Ryan Coogler (whose 2025 hit “Sinners” made quite a splash in Imax 70mm) are others associated with what Umphenour dubbed “the 70mm renaissance.”

According to Saint Marie, theaters worldwide transitioned from film to digital projection mainly because the cost of shipping a Digital Cinema Package is much cheaper than shipping a film release print. But the community of skilled laborers and enthusiastic audiences who champion analog projection say it’s worth it.

“I think there’s something to be said about what film gives you as an artistic community, versus what digital gives you is just consuming as a capitalistic society,” Saint Marie said. To McKinnon, it comes down to the “tradition of humans telling a story by flickering light” harking back to prehistoric times.

For Umphenour, the story of “The Odyssey’s” release and all of the 70mm fanfare is one of preservationists triumphing over countless obstacles.

“There are 70mm theaters running this film throughout the world that, frankly, have been kept alive through the deep devotion of people who care about this format,” Umphenour said. “They really do deserve to be celebrated because, like so many things in life, if you don’t have people that care about it, you don’t end up with a thing.”

“The results of all this work are not images projected on screen,” he continued. “It’s a community brought together to hear a story well told, which allows them to create a life memory they get to carry forward for years and years.”

Film projection takes center stage at the Alex Theatre.

(Allen J. Schaben / Los Angeles Times)

LOST Property, part of Hilton’s fancy Curio Collection, has a very specific theme: the lost history of London.

Read on to find out everything from the restaurant menu to room prices.

Where is Lost Property hotel?

The Lost Property St Paul’s London hotel is in the heart of the city of London, and just a few minutes from it all.

There’s St Pauls Underground Station which takes you to all of the top attractions, and of course the stunning St Paul’s Cathedral right outside.

It is also right by the City Thameslink line which takes you directly to both London Gatwick and London Luton Airport.

What is the hotel like?

While unassuming from the outside, the interiors are a glam slap in the face.

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From the Murano glass lights casting a cosy glow in the lobby, to the fun herringbone carpets throughout, it’s almost tempting you to take pictures of it.

You may not even notice the image of Winston Churchill or the inspiring quotes subtly emblazoned on the wall in reception.

But take a closer look at and you’ll find little treasures hidden all over this 145-bedroom hotel.

Make sure to look down when heading to the lift, for some fun photo-taking opps…

What are the rooms like?

Ranging from Queen and King rooms to Junior Suites, the rooms are drenched in rich jewel tones of burgundy and navy.

The herringbone patterned carpets and red marble countertops were a masterclass in luxury, with gold fittings and mood lighting for when the sun goes down.

The marble bathroom was just as impressive, with fancy Urban Apothecary toiletries.

The rooms have it all – delightfully squishy beds, a stocked mini bar and some even come with a view of St Paul’s Cathedral.

Don’t want to be disturbed? Hang on your door the “Kindly Get Lost” sign for some peace and quiet.

Rooms start from £184 a night. See hilton.com.

What is there to eat and drink there?

A dinner at the hotel’s Found Bar is a must.

Combining French and British classics, the watermelon vichyssoise was the perfect dish to cool me down in the heat.

The beef ribeye was cooked to perfection, while the zesty lemon posset cut through it perfectly.

Ask for the cocktail menu too, which leans into it’s theming of being lost – complete with am ’empty’ menu and a laser pen to help you find the cocktails.

For breakfast, head to the front of the hotel to Tattle Coffeehouse.

Drinks are made with Monmouth coffee, some of the best in London (and best chased by a freshly baked and flakey croissant…)

What else is there to do there?

For those that fancy a workout, there’s a very nice gym with Peloton bikes and treadmills.

They sit under large windows in the ceiling so you can soak up the natural light while you cycle.

The hotel is a short stroll from some top tourist attractions like the Tate Modern (15-minutes walk), the London Eye (30-minutes walk) and Somerset House (18-minutes walk).

Is the hotel family friendly?

There’s everything from kids menus at the restaurant to connecting family rooms and cribs on request – so definitely family friendly.

Is there access for guests with disabilities?

There is lift access to all floors as well as step-free access to the restaurant and accessible adapted rooms.

Looking for another place to stay? For more hotel inspiration click here.

Birao, Central African Republic – When Islam Ibrahim fled Sudan after her father was killed during the siege of el-Fasher, she thought she had escaped the worst of the war.

The 20-year-old pharmacy student fled with her mother and six sisters to the neighbouring Central African Republic (CAR), leaving behind her pharmacy studies.

Now in Korsi refugee camp, she spends her days helping newly arrived Sudanese women and girls. Drawing on the medical knowledge she gained before war interrupted her studies, she volunteers to support refugees arriving exhausted after dangerous journeys from Darfur.

But even in exile, Islam says she cannot escape the pressures that followed her from home.

Her uncles have travelled to the refugee camp urging the family to return to Sudan, so her mother can settle her late father’s estate. Islam fears that returning would not only place them back in an active conflict zone but also expose her and her sisters to pressure to marry relatives against their wishes.

“I only want to go back to Sudan if it’s to continue my education,” Islam told Al Jazeera. “I don’t want to go back to Darfur to divide my father’s inheritance.”

Islam’s story is echoed across Korsi refugee camp, where an entire generation of Sudanese students is trying to salvage futures interrupted by war.

More than 30 Sudanese university students interviewed over several days described lives put on hold by a conflict that has uprooted families, shattered ambitions and left many wondering whether they will ever return home. Most are in their 20s and come from Amdafock, a border town in Darfur that became both a refuge and later a departure point as families fled escalating violence.

Many believed their displacement would be temporary. They imagined returning home to complete their degrees once the fighting stopped.

Instead, that hope has grown increasingly distant.

Their experiences reflect a wider educational divide created by Sudan’s war. Millions of school pupils and university students in Darfur and other areas controlled by the Rapid Support Forces (RSF) have now gone more than three years without regular schooling or access to nationally recognised examinations. In contrast, despite repeated disruptions caused by the conflict, many students in areas held by the Sudanese army have gradually returned to classrooms and sat their exams, widening disparities in educational opportunities between young people on opposite sides of the war.

Lost years

Amdafock was recently seized by fighters from the Seleka rebel coalition operating across the border in the CAR, further diminishing any realistic prospect of return for many of the families originally from the town.

With support from UNHCR, dozens of Sudanese refugees have secured places at the University of Bangui, offering a fragile path back into education after years of disruption.

But returning to university has proved far from simple.

Having completed their schooling in Arabic, they must now study in French, learning an entirely new language while trying to keep pace with university demands. Many say the additional years required, coupled with financial hardship and the psychological toll of displacement, make it feel as though they are losing time they can never recover.

“We have already lost so many years,” several students told Al Jazeera.

Among them is Gamar el-Shaikh, a sociology student at the University of Bangui.

“We left Birao refugee camp, promising our loved ones that we would return with university certificates,” Gamar told Al Jazeera. “But with the educational environment we are in, and all the difficulties we face, it feels almost impossible to keep that promise.”

Another student, Baderelddian Issa, said his family fled after his father, an imam in Amdafock, was persecuted by the RSF for criticising them during sermons at the mosque.

Baderelddian told Al Jazeera that his father’s position made the family a target, forcing them to flee Sudan for the CAR, where he is now trying to continue his studies, while watching the possibility of return slip further away.

Painful choices

For some students, displacement has demanded even more painful choices.

Intisar el-Sadig lost her husband during the war before fleeing to the CAR with her young child. After UNHCR secured her a place at the University of Bangui, she made the difficult decision to leave her three-year-old son in Korsi refugee camp with her mother so she could continue her studies in the capital.

She travels back whenever she can, but says every separation is painful.

“I am studying because I don’t want this war to take everything from us,” Intisar told Al Jazeera. “If I stop now, then we will have lost not only our home and my husband, but also our future.”

Ahmed knows how quickly those hopes can collapse.

Before the war, he was studying law and dreamed of becoming a judge. His father, a Sudanese army officer, was killed during the fighting in el-Fasher. The family fled to Nyala, believing they had reached safety, but Ahmed says fighters from the RSF attacked them there. During the assault, his mother was beaten so severely that her arm was broken.

The family eventually reached the CAR.

Now living in exile, Ahmed’s studies have been put on hold, and his ambitions have narrowed to survival.

Enduring hope

Across Korsi, that sense of loss is shared in different ways.

Students who once imagined futures as pharmacists, judges, engineers, teachers and academics now spend their days navigating life in exile, learning a new language and trying to rebuild their education in an unfamiliar system while worrying about relatives still trapped in Sudan.

For young women like Islam, displacement has also brought renewed pressure over inheritance and marriage. For others, the loss is measured in years of interrupted education that may never be recovered.

Islam continues volunteering in the camp, while Gamar, Baderelddian and Intisar persist with their studies despite extraordinary obstacles. Ahmed still clings to his dream of becoming a judge.

For these young Sudanese, education has become both refuge and resistance, a fragile attempt to rebuild meaning in lives shattered by war.

“We are the lost generation of Sudan,” Ahmed told Al Jazeera through tears. “We lost everything in this war.”

THE Rolling Stones and Amy Winehouse — somehow it was a match made it heaven.

On June 10, 2007, the original rock and roll miscreants invited the supremely gifted but wayward singer on stage at the Isle Of Wight Festival.

Amy was all the rage that summer with her second (and final) album Back To Black riding high in the charts. Britain and the world had taken her songs to their hearts — Rehab, You Know I’m No Good, Tears Dry On Their Own and Love Is A Losing Game among them.

At the festival, Amy wore a pristine white shirt, skinny black jeans, a chunky belt, ballet flats and THAT towering beehive.

She looked every inch at home next to the man with all the moves, Mick Jagger — a lean, sinewy T-shirted figure in an all-black outfit.

Together, they belted out a wild rendition of The Temptations’ soul classic Ain’t Too Proud To Beg.

Together, they perfectly captured the rebellious spirit of rock and roll.

When Amy died four years later aged just 27, the world lost a generational talent — a sultry, emotionally wrought voice for the ages.

Now, in 2026, the Stones are releasing a cover of Amy’s You Know I’m No Good on their vibrant, age- defying 25th studio album, Foreign Tongues.

I’ve had the chance to speak to guitarist and lovable rogue Ronnie Wood about the song, his close friendship with Amy — and all things related to the eclectic 14-track album.

By Stones standards, it’s a rapid-fire follow-up to 2023’s Hackney ­Diamonds and a freewheeling ­confection of rock, soul, dance, country, blues and balladry.

“We just loved to pay tribute to Amy because she was such a jewel,” Ronnie says with typical warmth.

“A very lost jewel in the jewellery box but she was wonderful.”

At the time of Isle Of Wight, Ronnie was still battling alcohol addiction himself and he discovered an immediate bond with troubled Amy.

“We came back on the ferry together and had such a laugh,” he recalls. “Then shortly before Amy died, I had a real in-depth [chat] with her in the garden of a hotel in Rio.

“She was asking me, ‘Oh Ron, what am I going to do? And I was going, ‘Don’t worry because everyone knows you’ve got vodka in your water bottle. Just don’t hide it and try to go on stage tonight.

“Her band pleaded with me. They went, ‘Ronnie, please get her to go on — she’s trying to pull out of the gig.’ Anyway, I talked her through stuff and she did go on.”

“Amy needed a carer all the time otherwise she went off the rails, which of course she did.”

I ask Ronnie where Amy ­Winehouse should be placed in the pantheon of great female singers, past and present.

“There are some lovely singers around,” he answers. “They arrive in spasms. Chanel Haynes from my band is great — she played Tina Turner [in the stage musical] and really has the essence of Tina. I also like Jessie J.

“But Amy was like Billie Holiday. She had that once-in-a-lifetime deep blues. It’s a pity she was her own worst enemy.”

Of the Stones’ rousing rendition of You Know I’m No Good, Ronnie says: “I love the way Mick has put the harmonica over the brass riff.”

Mick himself reflected on the song this week at an intimate fan playback at Metropolis Studios in Chiswick, West London, where much of Foreign Tongues was recorded.

“We decided we wanted to cover this Amy Winehouse song. We do it in the same key as her. There’s a well-known horn lick on that record and I thought, ‘Yeah, I can do that. I’ll do it on the harmonica.”

Mick is accompanied by Ronnie but minus Keith Richards, who’s at home in the States and sends a video message saying “god bless you all”.

Wearing a floral shirt beneath a black leather jacket despite the heat outside, Mick, the planet’s most sprightly octogenarian, is in expansive mood. He saunters into the room and greets the assembled throng from countries far and wide with a World Cup quip, “Apologies to anyone from Mexico!” Cue much laughter.

With his face wreathed in smiles, he peers around the sound-proofed room and says: “We had a lot of fun making this record in this very room.

“It didn’t look quite like this,” he adds before waving his arms in ­different directions.

“The drums were over there, Ronnie was there, I was there, Keith was there.” Ronnie also can’t help a reference to important football matters when he describes the band’s preparations for the sessions at Metropolis.

“We had a lot of rehearsals — a bit like practising for the World Cup — at Electric Lady Studios in New York and on the West Coast at Jim Henson’s studios.”

The subject soon moves on to how the Stones have kept going nearly 65 years after Jagger and Richards met on Platform 2 of Dartford railway station and decided to be in a band together.

Listen to Foreign Tongues and you’ll be astonished by Mick’s still jaw-dropping range.

So how does he keep his most precious instrument — his vocal cords — in shape?

He says: “With other instruments, you can see them — a guitar, a piano — but you can’t see your vocal cords.

“So, you can’t say, ‘Oh they look really good today, I’ll do this.’

“If anything goes wrong, the doctor has to look at them. You have to keep them in shape like a muscle.” How does Ronnie keep his fingers nimble enough to dance across the fretboard? “There are exercises for the hands,” he replies. “And I put arnica [a herbal remedy] on them because they can hurt a lot.”

Mick says: “The thing with Ronnie is that he’s very good because he doesn’t stop playing, either with another band or doing his own gigs.”

This helps explain why Ronnie’s guitar work is a prominent feature of Foreign Tongues.

“When the first mix was finished, Ronnie came to my house and I played him the whole record,” reveals Mick. “I said, ‘So, what do you think Ron?’ And he said, ‘I didn’t really get any solos.’”

That comment was a classic piece of Ronnie mischief because, as Mick points out, “No one else gets a guitar solo on the record apart from Ronnie!

“I get a harmonica solo but Keith doesn’t really get a solo,” he adds before turning to his bandmate and asking, ‘Why is that, Ronnie?’ Ronnie gives a knowing smirk and says: “Keith told me, ‘Anyone can play a solo, it’s the riff that matters!’

“And I said, ‘OK, you’ve done the groundwork there but I’ve got the icing on the cake.”’

This brings us to a wider discussion about the Foreign Tongues sessions which prompts Ronnie to chip in with: “We’re much more civilised than we used to be.”

Mick picks up the thread: “I’m always the last to arrive. I’m not sure how that happens.

“We usually start about half past three and finish at about ten, ­having agreed the night before what we’re going to do.”

Ronnie salutes producer Andrew Watt, the live-wire American ­producer who helmed Hackney Diamonds and Paul McCartney’s recent album, The Boys Of ­Dungeon Lane. “We need someone to boss us around, and Andrew did that.”

Mick interjects: “Otherwise, it would all fall to bits! So we’re very pleased that Andrew herds us into doing it.”

Ronnie comes back in with a very telling comment: “Mick never lets anything fall to bits because the Rolling Stones is his baby — and he won’t let anything destroy that.”

The Stones’ approach these days clearly has something to do with the fact they’re all sober.

Yet Foreign Tongues has drawn comparisons to 1978’s Some Girls, Ronnie’s first album as a full-time member — recorded when things were far less civilised.

For instance, the disco-inflected Jealous Lover, with Mick still able to produce his best falsetto, is reminiscent of Miss You. Elsewhere, the band summons the raw energy of Respectable or Shattered.

The frontman sifts through the mists of time to the sessions at Pathé Marconi in Paris: “In the late Seventies, I’d have to dig Ronnie and Keith out of a late-night pizza place. I’d go in there at 1am and say, ‘It’s time for the studio, lads!’

“And poor Bill Wyman [bassist] had been in the studio since six o’clock waiting for us.

“We’d get there at 2am and we’d leave at eight. We’d run into the factory workers getting their ­morning coffees.”

Ronnie laughs: “We played for so long back in those days that Bill would have a sleep, come back and we’d still be playing.”

With the album out tomorrow, Mick is asked about his hopes for a good reception for Foreign Tongues. It prompts a comparison with an album many regard as the Stones’ finest, released in 1972.

With 14 new songs about to be unleashed, he accepts that it’s “a lot of music” and says: “It’s longer than Exile On Main St. When that came out, reviewers generally said things like, “It’s kind of rambling and all over the place.”

“It was too much for people to take in all at once. But, from the reviews I’ve seen, we are getting very good ones [for Foreign Tongues].

The album is notable for guest appearances — Steve Winwood, The Cure’s Robert Smith and Red Hot Chili Peppers’ Chad Smith.

One song, the “punky” Hit Me In The Head features the late effortlessly cool Stones drummer Charlie Watts. Mick explains: “People would say, ‘Charlie’s such a subtle drummer, he loves jazz — you can hear that soft touch.

“Well, not on this one. This one sounds banging, banging, banging — very punk. We recorded it in 2021.”

In my chat with Ronnie, he talks about Paul McCartney’s bass playing on Covered In You, reprising his role on Hackney Diamonds track Bite My Head Off.

He says: “Oh Paul was so lovely.  He said playing with the Stones was one of his biggest ambitions. He loved it, like a kid in a toy shop.”

He remembers how in The Beatles and Stones’ early days, he was a bystander in a band called The Birds,” but told himself that one day he would join Mick, Keith and co.

Why the Stones? “Because I’m more of a jazzer and a bluesman,” he replies. “I respected The Beatles’ music, their adventurousness, but I liked the funk and the women around the Stones.

“I thought, ‘That looks like a good job.’ Then, like a jigsaw, all the pieces fell into place.”

Finally, I beg the question: Is there’s more in the tank from the world’s greatest rock and roll band?

“There is, but what we’ve got to do is survive!” says Ronnie.

ROLLING STONES

Foreign Tongues

★★★★★

AS Mick Jagger says, this is “a lot of music.”

But over 14 tracks, the Stones have a blast.

There’s the ragged majesty of Rough And Twisted, the dance floor-primed Jealous Lover, the politically charged Mr Charm, the country twang of Ringing Hollow, the three-minute punk mayhem of Hit Me In The Head, a yearning Keith Richards lead vocal on Some Of Us and the raw delta blues of Chuck Berry’s Beautiful Delilah.

At times, it needs to be a little rougher around the edges, but this high-energy album is nothing short of a miracle from rock and roll’s great survivors.   

There aren’t many roads in Britain where you can pull over to cook breakfast and finish it without seeing a single car. While my friend Ben got the stove going, I wandered around the ruins of Dun Dornaigil, an iron age broch (stone roundhouse) more than 2,000 years old. Above us, low cloud drifted across the dark cliffs of Ben Hope. This was exactly the kind of lost lane we’d come to Sutherland to ride.

Our journey had begun the day before, in Lairg – the traditional “crossroads of the north”. With its Spar shop, hotel, train station and a population of about 800, Lairg is the largest inland settlement in one of the most sparsely populated regions of Europe. Sutherland – literally, the “southern land” of the Vikings, who held sway over the far north of Scotland from their stronghold on Orkney – tests life to its limits: bare mountains, impassable peat bogs and one of Britain’s wildest coastlines.

Today, the region’s biggest draw isn’t a particular place but a route. The North Coast 500 is regularly ranked among the world’s greatest road trips – and has been dubbed the “Instagram highway”. Over the past decade, its runaway success has doubled the traffic on its roads. Plenty of cyclists do ride the 516-mile (830km) circuit, or parts of it, but we had not come to this far-flung corner of Scotland to spend our time amid a procession of motorbikes, sports cars and campervans.

Heading west from Lairg, we turned into Glen Cassley. On the map, it’s a dead-end lane that dwindles to a rough 4×4 track. After a couple of miles bumping along the gravel, a ribbon of silky-smooth tarmac appears as if by magic (it is, in fact, a service road for a dam and a small hydroelectric generator). It led us up a steep climb over the top to Loch Shin.

From here, the only way across the next range of hills was an old drovers’ road over the Bealach nam Meirleach – or Thief’s Pass – a name hinting at earlier use by cattle rustlers. Thanks to Scotland’s enlightened access laws, we were free to give it a go. The only question was whether our fully laden touring bikes would be up to it. Though boneshaking at times, it was a thrilling 8-mile ride over genuinely remote hill country, passing a string of lochans (small lochs) flanked by huge, glacier-scoured cliffs. Descending into Strathmore, we found the perfect wild-camp spot by the river. Perfect, that is, until the midges appeared, forcing us to don our slightly absurd nylon head nets to keep them at bay.

The next day, after our roadside breakfast by the broch, we continued on a narrow road from Strathmore to the tiny hamlet of Altnaharra. The very name has a romance to it, and I’d heard it now and again on weather bulletins in the depths of winter (the weather station here jointly holds the record for Britain’s coldest recorded temperature: –27.2C in December 1995). A small hotel, originally a 17th-century drovers’ inn but reopened in the 1820s to bring anglers and deer stalkers to the area, is open from March to October. With the sun blazing in a cloudless sky and the land so lush and green, it was impossible to imagine the long, dark winters where heavy snow can leave the handful of local people cut off for weeks.

Downstream of the hotel is a three-arch stone bridge built by Thomas Telford, wittily dubbed the Scottish “colossus of roads”, who gave Sutherland its first proper highways. We set off on his road to the coast. It crosses the western edge of the Flow Country, a seemingly infinite expanse of mountain and blanket bog. Walter Scott described this far north of Scotland as the “immeasurable wilds” and the distant, never-changing horizons can be disorientating. As the miles ticked by, my eye was drawn instead to the microcosm at the roadside: verges dotted with delicate flowers, mosses and lichens; dark, still pools of water ringed with reeds and tufts of pure white cotton grass.

Eventually, we reached the coast and the village of Tongue. As we freewheeled down the hill, a sea eagle picked us out and glided overhead, matching our speed, as if lazily sizing us up for its next meal before deciding we weren’t worth the bother. We stopped for our lunch on the sunny terrace of the Tongue hotel, a former hunting lodge furnished in the Highland style – all dark wood, polished brass, tartan and antlers. Tongue overlooks a shallow sea loch where whales, dolphins, seals and otters are regularly spotted. In the 1970s, a causeway and road bridge were built across the mouth of the Kyle of Tongue, replacing a ferry crossing. Almost no one drives the narrow old road around the loch. It’s a genuine lost lane, with views across the turquoise waters of the loch and inland to the shapely granite peaks of Ben Loyal.

On the far side of the loch is the Moine, for centuries another impassable morass of blanket bog. To cross it, we had no choice but to join the stream of traffic on the fast and wide A838, which forms part of the North Coast 500. A closer inspection of the map revealed a few fragments of the original road, now abandoned. Some sections were a muddy quagmire, but others were surprisingly intact. Along the way, we stopped in at the roofless ruin of a small house where travellers once took refuge from storms.

Across the Moine, we reached the northern tip of Loch Hope, where the Danish billionaire Anders Holch Povlsen has just opened what may be the country’s most expensive hotel: rooms at Hope Lodge cost upward of £1,550 a night. Povlsen is a paradoxical figure. Scotland’s biggest private landowner, his fortune was made from fast fashion, an industry widely criticised for its record on the environment and on labour. Yet, as well as running a handful of luxury retreats, his company WildLand has made ambitious commitments to nature conservation and rewilding on his vast estates. After pondering what comforts lay behind the metal gates of Hope Lodge, we set off down a narrow lane along the shore of the loch, where we spotted two campers quietly rewilding themselves for free.

We soon discovered this was a gem of a lane, with its thick sward of grass up the middle, winding its way past drifts of heather and eucalyptus-scented bog myrtle, and through sun-dappled glades of downy birch and sessile oak. Stopping in a narrow ravine, we drank deeply of the cool, peaty water that spilled down in a cascade. On this 20-mile stretch, we passed just two farmsteads. The emptiness of places like Strathmore is the legacy of the notorious early 18th-century Sutherland clearances in which thousands of farming families were evicted, often violently, to make way for commercial sheep grazing.

Returning to the crossroads at Altnaharra, it was time to turn south on to the road to Lairg. Our destination for the night was the Crask Inn, a historic drovers’ haunt that offers cyclists free camping in the garden. We pitched next to a lone German who was closing in on John o’Groats, the end of a ride that had begun a fortnight earlier at Land’s End. Our tour of just three days had covered 130 miles. We had travelled along lonesome highways, forgotten byways and the remotest of hill tracks. In setting out to avoid the North Coast 500, we had ended up riding where no campervan could go.

Jack Thurston’s new book, Lost Lanes Scotland, is out now (Wild Things Publishing, £18.99). This tour combines two rides from the book

Şafak Bozkurt, who chairs the Van Bar Association Human Rights Centre Migration and Asylum Commission, said he was familiar with this type of push-back in the region, and aware of cases of hypothermia.

Afghan migrants have reported multiple similar incidents since 2021, when the Taliban seized power in Kabul, according to Turkey-based activist Zakira Hikmat. She said increased border surveillance in Turkey had forced them onto more dangerous routes.

Mahmout Keçen, another migrant-rights activist based in Van, said the nature of the mountains “most commonly used by Afghans entering Turkey irregularly” meant crossings had to be made in difficult, risky weather conditions.

He has worked on numerous cases involving Afghans and other migrants who alleged “ill-treatment, push-backs, denial of access to asylum procedures, and forced returns” around the Iran-Turkey border region.

The Turkish foreign ministry told the BBC such allegations were unfounded and “unfairly cast a shadow on Turkey’s successful efforts in combating irregular migration”.

“Due to its geopolitical location on migration routes and hosting a significant migrant and refugee population, Turkey aims to implement a human-centred and sustainable migration-management system that is compatible with civilisational values, that balances security and freedom.

“Thanks to Turkey’s effective measures and successful fight against irregular migration, irregular migration flows towards the European Union have been almost completely halted.”

The Iranian authorities have also been approached for comment.

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

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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.”