lost

The ITV show followed Natasha Carr and her sister Lee-Ann four years after their initial reunion

Two siblings were given tragic news about their biological father during the latest episode of ITV’s Long Lost Family: Born Without a Trace.

Natasha Carr was just one week old when she was abandoned in a toilet at St Thomas’s Hospital, Lambeth, in 1989. She turned to the ITV show for assistance in tracing her biological family in 2018, having no knowledge of her life prior to being fostered and ultimately adopted at the age of two.

While the show was unable to locate her biological parents, it uncovered, after three years of searching, that Natasha has a full sister named Lee-Ann, who is just 18 months older than she is.

Sharing 51 percent of Natasha’s DNA, Lee-Ann was also a foundling, having been left in the staff toilets at St James’s Hospital in Balham when she was just a few days old.

At the time of their reunion in 2022, Natasha told host Davina McCall: “It’s so lovely to have someone who has the same experience. No one will ever understand unless you’re in the exact same situation, and she literally was in the same situation,” reports MyLondon.

On Monday evening (August 24), the ITV show broadcast an update to Natasha and Lee-Ann’s story in Long Lost Family: What Happened Next, eight years after their initial search began.

While the team searched for further relatives of the sisters, they learned that their father had passed away only a few years earlier, following a battle with cancer. Natasha and Lee-Ann received the heartbreaking news away from the cameras.

“I’m on my way to give Natasha and Lee-Ann major information; sadly, their birth father has died, which we’ve told them away from the cameras,” Davina revealed.

Yet the sisters faced another stunning development as Davina confirmed their birth mother had been traced. “She’s still alive, and she would really like the chance to meet them and to start building a relationship,” she added.

Throughout Davina’s conversation with Natasha and Lee-Ann, she disclosed that their father was born and brought up in Jamaica until he was 14 years old.

“It’s really interesting to know our background and where we come from and who we are”, Lee-Ann shared, “That’s what started my journey, I wanted to know what flag.”

The siblings also learned their biological mother was alive and had additional children, leaving them both astounded.

Lee-Ann became visibly emotional and received support from Natasha as Davina confirmed their mum’s desire to reconnect with her two daughters.

Subsequently, in the episode, Natasha confirmed she had encountered her birth mum while Lee-Ann was still coming to terms with the revelation.

Long Lost Family: What Happened Next is available to stream on ITVX

Denmark, Finland, Iceland, Norway, Sweden and the Faroe Islands back calls for Infantino’s resignation amid FIFA crisis.

Six Nordic football associations have delivered a united blow to FIFA President Gianni Infantino, declaring they have lost confidence in his leadership while demanding sweeping governance reforms at world football’s governing body.

The six Nordic FIFA members – Denmark, Finland, Iceland, Norway, Sweden and the Faroe Islands – met in Helsinki and issued a rare joint statement on Sunday, backing calls for Infantino’s resignation from three major regional confederations.

They also supported demands for an independent investigation into his proposal to sell a stake in events like the World Cup to private equity investors, a plan that was quickly abandoned in the face of a global backlash.

“The six Nordic football associations have lost confidence in FIFA’s president and are concerned about the organisation’s governance and decision-making at the highest level,” they said in a statement.

“The Nordic football associations stand united with UEFA and support the measures that the organisation and its national member associations have jointly proposed.

“We expect FIFA to provide binding guarantees that the organisation’s governance or competitions will never again be opened up to private ownership.”

FIFA did not respond to Al Jazeera’s request for comment.

On Friday, Denmark’s football association pledged to find a credible alternative to Infantino in March’s presidential election.

Infantino is under pressure from three confederations to resign: UEFA, the AFC and CONCACAF.

The sport’s regional powerhouses in Europe, Asia, and North and Central America and the Caribbean have also discussed a potential vote of no confidence against the FIFA chief.

“We also support the demand made by AFC, CONCACAF and UEFA that a fully independent external investigation into the events surrounding the FIFA Forward Enterprise proposal be established,” the Nordic associations added.

“We also call on FIFA to initiate a comprehensive and independent review of its governance framework to determine whether it ensures the independence, checks and balances, transparency and accountability that were intended when FIFA adopted its reform programme in 2016.”

Infantino, who is seeking a fourth term until 2031 in next year’s election, is in the Dominican Republic this weekend, where he has met with officials of the Caribbean Football Union (CFU).

CONCACAF President Victor Montagliani had asked Infantino to stay away from a youth football tournament in the country, saying his presence would overshadow the event.

“This meeting of the presidents of CFU takes place in the environment of [an] under-14 youth tournament in the region, which actually is one of those tournaments that can take place thanks to the FIFA Forward programme,” Infantino said.

“So even more so a reason to be proud to be here and happy as well because it’s important to engage, to have a dialogue, to express views and opinions.”

Aug. 20 (UPI) — The remains of two Belgian hikers who went missing in 1992 were found in the area a melting glacier in Switzerland.

The bodies of the two men, who were 39 and 41 years old when they disappeared, were found on the Trift Glacier, police said Wednesday.

A hiker discovered the bodies on July 26 in the Valais canton in the Swiss Alps near the border with Italy.

The bodies were sent to the Institute of Forensic Medicine at Valais Hospital in Sion, Switzerland, for identification.

“A direct comparison of DNA profiles has formally established that these are two mountaineers who went missing in the Weissmies region in 1992,” a police statement said. “Due to the retreat of the glaciers, it happens again and again that the mortal remains of people who disappeared in the mountains several decades ago come to light.”

The two men began their hike on Sept. 4, 1992, from the Weissmies hut to climb to the summit of the Weissmies mountain, 13,179 feet high. They made it to the Almagell hut, about 9,494 feet up. But they never reached the top due to poor weather conditions.

Teams searched the area several times after they were lost. They found a backpack, but not the hikers.

Valais police keep records of people reported missing in the mountains and rivers of the area dating back to 1925. As glaciers have begun to melt due to climate change, ice is exposing the bodies of climbers who went missing decades earlier.

Last year, the body of a Swiss climber who disappeared in 1994 was found on Ober Gabelhorn mountain in Valais.

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

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

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

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

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

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

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

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

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

The moment was par for the mayor’s night.

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

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

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

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

Somewhere, Jonathan Gold is shaking his head in disgust.

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

And what have you done, Mayor Bass?

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

(David Butow/For the Times)

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

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

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

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

And now, this debate.

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

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

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

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

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

(David Butow/For the Times)

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

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

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

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

Hope.

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

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

In the beginning of 2025, Taylor Olin had decided she’d seen enough of Echo Park and decided to relocate to a cozy ranch up in Altadena. There, she’d begun to plant her roots in an artistic community, spending most of the last year and some change nestled in with her new flock of bohemian neighbors.

It would be the perfect sanctuary for the Something Specials frontwoman, that doubled as a creative space.

By the first week of January, she moved her belongings into a rented stationary camper situated on a ranch owner’s sprawling land, that they’d lived on for more than 25 years. In the shadow of the San Gabriel Mountains, her L.A. chronicle would continue, as dreamed.

But within a week of settling down, she’d receive a knock on her door, step out of her home, and see flames burning a nearby hillside. When she saw the fire she knew to leave, packing as much as she could before making a run for it.

“Every successive update we would get from her was just unbelievably surreal,” said Josh Augustin, who plays drums and keys and does production for the band.

She didn’t know it yet, but all that was left of her camper was its frame; it’s burned, twisted metal was another casualty of the L.A. wildfires. For the next couple of weeks, she’d couch surf until ultimately sleeping in her van, waking up early to wait tables at an oyster bar on Sunset Boulevard.

The remains of Olin’s rented camper.

(Taylor Olin)

“From there, I went back to Florida, and I put on a benefit show for some specific people in Altadena that I wanted to give some funds to,” Olin said.

She’d then relocate to Europe and start fresh with aid from a GoFundMe created by a friend. Roughly a year and a half later, she’s still there and has had time to reflect on the experience.

“As much as I was directly affected, I really have held the space in my heart for those who have been there for their entire lives,” she said.

“My commitment to the community had only been a year … whereas they had invested so much and lost so much.”

But something fascinating was happening behind the scenes, coinciding with the disaster that had sent Olin overseas and left her bandmates, Augustin and Nathan Slone — located in New York City — shocked.

One year earlier, the band had released “Love,” a pleasantly sweet, folky, country-adjacent tune that melts easily into eardrums. Though it hadn’t received much attention at the time, it began to gain some traction on social media right after Olin settled down in Europe, frequently appearing in short-form videos across Instagram.

“We had no idea where we were getting it from,” she said of the new listeners. “It was picked algorithmically and put at the top of recommended songs on stories and reels, and so we started seeing thousands of reels being used with its intro.”

The band unwittingly stumbled into virality.

“We would get maybe a few hundred listeners in a day across our entire discography,” Slone, guitarist and bassist, said. “It’s … come to life, die, come back to life, and died. Now our whole discography seems to be in a ‘high tide lifts all ships’ moment.”

At that time, “Love” was floating around 1 million listeners on Spotify. Today, it sits at nearly 20 million, with the band’s average monthly listeners at 1.2 million. Small highlights include being featured in a Reese Witherspoon carousel and Ashley Tisdale French gardening video on Instagram, the latter containing their other hit, “Aces.”

Now, the trio is gearing up to release its debut album, “Somewhere Up There,” on Friday. At just shy of an hour, the project is split almost evenly between new music and previously released tunes.

Album art for “Somewhere Up There.”

(Taylor Olin / The Something Specials)

Impressively, the band has met in person only three times, one of which was when they first agreed to work together. Better yet, when Olin and Slone first met, it was shaking hands on stage at the Echoplex before the band’s first show.

They’re all skilled musicians, having done their due diligence in different music groups, but nothing has clicked like the parasocial success that is the Something Specials.

“We need each other all the way through — we each bring a different thing to the project,” Slone said.

“I’ll go and write the bass of the song, and a riff if there’s a riff. Josh helps with keyboards and drums. We refine it a little bit together. We send it to Taylor. Taylor records over it. We get it back. We might add a part or two. We mix it. All say yes. Send it for mastering and upload it.”

In a modern world, it’s not unusual to hear of music production being done in such a way, but it’s the group’s limited personal relationship that makes it shine.

The plan is to keep being nonchalant about the whole thing, and hopefully their fan base will continue to grow. On Oct. 28, they’ll play the Sultan Room in New York City, their third time together as a band.

“It’s bizarrely easy,” Slone adds.

“With very few exceptions, if things are flowing well, we can wrap something up in a week or two,” Augustin adds about the outfit’s remote recording process.

They’re still winging it at this point, unsigned and with no representation, but “winging it has served us well,” Olin said.

“We’ve been approached many times [by labels],” Slone continues. “But we do pretty darn well on our own, and record labels don’t really have much to offer us, frankly.”

Olin says that in a time where the use of artificial intelligence is so prevalent, and particularly in creative spaces, doing things “DIY” is the best approach. They’re starting with an initial run of around 500 vinyl records, with plans to release the album on CD and cassette later down the line.

“With this kind of band — with our sound, with our aesthetic— I think that as old-school as possible feels best,” she said.

Amy Winehouse’s dad Mitch was left devastated last month after unsuccessfully suing two of her pals for selling some of the star’s belongings.

But now Amy’s closest friend, fellow singer Tyler James, has revealed he plans to auction off more items which were once owned by the late superstar.

Last month the High Court ordered Mitch to pay almost £1million in legal fees after he lost his case against Amy’s stylist Naomi Parry and her pal Catriona Gourlay.

Both women insist they were either given or loaned the items they sold by Rehab singer Amy, and had not stolen them — as Mitch claimed.

And Tyler told how he had been upset when his own Amy auction had to be cancelled after Mitch called in the lawyers.

Handwritten song lyrics and Amy’s red bowling shirt were among the lots he had planned to sell at auction.

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Tyler told me: “I’ve been through hell. I just couldn’t deal with it.

“Sotheby’s explained to me that due to Mitch’s lawyers contesting ownership, they couldn’t go ahead with the sale and that I needed a lawyer. I felt as if I had done something wrong.”

Tyler and Amy met at the Sylvia Young Theatre School and lived together for several years until her death from alcohol poisoning at the age of 27 in 2011.

Tyler — who appeared on The Voice UK in 2012 — now hopes to restart plans for his own auction, saying that last month’s High Court ruling “changes everything”.

He said: “I loved Amy more than anyone else in the world.

“I supported her through all the years of drug addiction, self-harm . . .  you name it. I wanted to protect her.

“We had been through so much together, and nothing can take away what we shared — not possessions.”

Of the previously cancelled auction, he said: “I don’t know why he [Mitch] stopped it. He knew how much Amy meant to me.

“Shortly after she passed away, we went to Amy’s place and there were two pillows on her bed. He gave me one of them.”

Of Naomi and Catriona’s recent court victory, Tyler added: “I don’t speak to the girls much any more, but I’m really pleased for them.

“But maybe — and this sounds selfish — I’m much more pleased for myself. I haven’t decided what to do yet, but I will be ringing Sotheby’s.”

October marks two decades since the release of Amy’s second — and most successful — album, Back To Black.

Something tells me fans will be lining up to bid on whatever treasures Tyler has.

It’s Paris fashion chic . . . 

No fashion is tutu much for Paris Hilton as she poses in this striking mini-dress from a new collection she has helped design.

The socialite has teamed up with Betsey Johnson for a new range, which is launching this week to celebrate the US designer’s 84th birthday.

This white bow dress costs $119 – around £88 – and it sounds like they had a hoot designing it.

Paris told People mag: “We had the best time brainstorming together, playing with looks at fittings, and making TikToks on set.

“She has this magnetic energy that lights up the room, and getting to create something with her has been such a dream.

“She is just as fun, original and full of personality as her clothes, and she brings so much creativity into everything she does.”

Rihanna doesn’t lack drive

Rihanna had a full-circle moment as she took her kids to the home she grew up in – but they didn’t look too impressed.

She shared photos on Instagram of herself with sons RZA and Riot, as well as daughter Rocki, outside the modest property in Barbados.

The street was originally named Westbury New Road but was renamed Rihanna Drive in 2017 – and her childhood crib is now a tourist attraction.

The Umbrella singer wrote: “One minute I feel like that kid from Westbury. The next minute I’m bringing my own kids back to ‘Rihanna Drive’. Trippy how life works!”

Julie hangs up her ‘Princess’ crown

She made two of the most famous movie musicals in Mary Poppins and The Sound Of Music, but Julie Andrews’ days on screen are definitely over.

The Surrey-born star, now aged 90, announced she has retired from her acting career, but will still pursue other creative paths.

It means she will not star in Princess Diaries 3 – currently in development – after playing Queen Clarisse Renaldi in the 2001 original and 2004 sequel opposite Anne Hathaway as Princess Mia.

Explaining how she passed up the chance, she said: “I think I’m retired, really, would be about the best description for that. The film’s team asked me all last year if I would be keen to do it.

“It was very, very hard to say no, but I did because I felt I had a wonderful ride, and this one would flourish very well and wouldn’t need Granny going in there at my age.”

Julie’s last on- screen role was in the children’s Netflix series Julie’s Greenroom.

In a separate interview, she added of Princess Diaries 3: “I’m not going to be in it. I think the story is slightly different, and I’m not quite sure how they’re dealing with that.

“But it’s too late for me to do it.”

Be a prop star at sale

Pop culture fans can bag themselves something special as Propstore is putting on one of the biggest-ever auctions of signed memorabilia.

More than 1,700 film, TV and music props will be up for grabs, including a 1997 Spice World T-shirt signed by the Spice Girls, and a Back To The Future poster signed by Michael J. Fox, Christopher Lloyd and other cast members.

Other notable lots include a replica sword from The Bodyguard autographed by Whitney Houston and Kevin Costner, and a vinyl LP from the cult movie Labyrinth, signed by one of its stars, David Bowie.

Before the live auction, which will run from August 26 to 29, you can see the full list of lots for yourself at propstoreauction.com.

Frankie’s binge too far

Who said the world of pop music was full of boozy antics?

S Club Juniors and The Saturdays star Frankie Bridge has revealed she’s just had her first hangover – years after her music career ended.

Speaking on the Bottoms Up podcast, she admitted: “I’m not a massive drinker. I’m a massive lightweight. I actually just had my first proper hangover last week – at the age of 37.

“It was honestly the worst day of my life and I was so pathetic, I cried. I washed my hair and then I couldn’t brush it so my friend Leah had to brush my hair for me and I was like, ‘This is a new low’.”

It came on the last day of her holiday after a night drinking mojitos, but she added: “I was fine by the time I got home and went in the gym.”

Trust me Frankie, if you were still able to go to the gym, you would never want to experience my hangovers.

Blur drummer Dave Rowntree says another reunion is a “question of when rather than if”. The band last played a gig two years ago, and he said: “I seem to remember us at Heathrow, saying, ‘We’ll do that again’. That’s my take.”

Spotify fake alert

Spotify is going to start flagging AI artists so that listeners know if they are getting computer-generated rubbish.

The streaming platform said fake acts’ profiles will be labelled “AI personas” and their music will be excluded from recommendations via its algorithm.

It’s hoped the crackdown will deliver a boost to real musicians and prevent artificial acts from taking over.

Spotify said: “True artist-fan connection can only be built on a foundation of trust and authenticity.

“In music, that means listeners need to be able to trust that the artist behind the music is who they say they are.

“That’s more essential than ever in the age of generative AI.” Good for them.

Country twist for ‘rock’ star

Dwayne “The Rock” Johnson showed off his vocals in Moana and its sequel, as well as in the new Disney live-action remake.

Now the hardman actor is eyeing a career as a singer – by getting into country music.

The former wrestler said: “Music has always been such an anchor for me, and very specifically in genres that I love, like traditional country music.

“We’re exploring that now. I’ve reached this point in my life and career where, honestly, when I wake up in the morning I swing my legs out of bed, and whatever the thing is that I’m doing, I wanna feel like I’m just running towards it.

“And the most gratifying things we do are when it’s for us, because we have enough pressure to deliver for so many other entities.”

Country music is on the rise, with US singer Luke Combs playing three sold-out shows at Wembley Stadium last month, while Taylor Swift went back to her country roots for her Toy Story 5 soundtrack single I Knew It, I Knew You, which topped the charts.

But Dwayne will be keen not to follow in Hollywood star Will Smith’s footsteps. Last year, he released his comeback album, Based On A True Story – but it sold just 268 physical copies in the UK in its first week.

I have faith The Rock won’t settle for that type of knockout.

Davina McCall was visibly moved on Long Lost Family as she made a life-changing discovery

Davina McCall struggled to keep her emotions under control during the latest epsidoe of the heartwarming ITV series.

The beloved TV presenter fought back tears during an emotional episode of Long Lost Family which aired on Monday (August 10 ) after revealing to 76-year-old Christine that the search for her biological family had uncovered her birth certificate and an unknown brother.

Christine left in a train carriage at Waterloo station in 1949. She was discovered and taken into care, beginning a life in which the identity of her birth parents remained one of the greatest unanswered questions she carried with her.

She has spent much of her life wondering about her biological family and where she had come from. Although she had always questioned whether she would ever discover the truth, she admitted she never expected the moment to actually happen.

Away from the cameras, Davina had already broken the heartbreaking news that Christine’s birth parents had been found but had sadly died.

Speaking to Christine, Davina asked: “How are you?” Christine replied: “It was a bit of a shock. Oh, my gosh. It’s actually happening.” She explained that she had been struggling to process everything, saying that her mind had been “addled” since learning what the Long Lost Family team had discovered.

Christine admitted that she had never really expected to find her birth mother alive. She said: “I didn’t think my mother would be alive now. I’m 76 this year, but there’s always been that question. ‘Who’s my family?’” But Davina then revealed something that made the emotional moment even more poignant.

The presenter was visibly moved as she told Christine: “I want to show you something today. It’s the first time I’ve ever been able to do this for someone. I have a birth certificate.”

Christine was visibly overwhelmed by the discovery. “Oh, goodness. So my birth was registered,” she said. Davina, visibly emotional herself, confirmed that it was. She explained that Christine’s birth mother, Joyce, was just 22 years old when she gave birth to her.

For Christine, the information was difficult to absorb. “It is a lot to take in. Oh, my goodness. So I was born in Portsmouth,” she said.

Davina confirmed that Christine had been born in hospital. The discovery appeared to answer some of the questions Christine had carried with her for decades.

Christine began trying to piece together what may have happened to her young mother. She reflected: “So, she’s looked after, and I was looked after. She must have left the hospital and gone straight up to Waterloo. But it doesn’t have the father. Probably couldn’t look after me on her own.”

Then Christine asked the question that would lead to another extraordinary discovery. “Did she have any more children?” Davina replied simply: “She did.” Christine immediately reacted with shock. “Oh, my gosh. This just gets better,” she said.

Davina then revealed that Christine had a brother named Barry — and that he had been born just one year before her. Christine wanted to know what had happened to him and asked whether Barry had stayed with their mother.

But Davina revealed that Barry had also been fostered. Davina explained: “Barry has got a birth certificate and that’s what your birth mother’s name is on it. He was the key to everything.”

Later on in the show Christine finally reunited with brother Barry. The reunion was particularly poignant given that Christine had already learned the heart breaking news that her biological parents had both died.

Long Lost Family: Born Without Trace is available to stream on ITVX

The KC-135 Stratotanker aerial refueling jet involved in a deadly midair collision with another tanker over Iraq in March is now undergoing full repairs at Tinker Air Force Base. The Oklahoma installation hosts the only unit specifically designed to repair battle damage to the Air Force’s fleet of aerial refuelers and strategic bombers.

The collision on March 12 killed the entire crew of the tanker, which had the call sign Zeus 95. Maj. John A. Klinner, Capt. Ariana G. Savino and Tech. Sgt. Ashley B. Pruitt were assigned to the 6th Air Refueling Wing, MacDill Air Force Base, Fla. Capt. Seth R. Koval, Capt. Curtis J. Angst and Master Sgt. Tyler H. Simmons (who was posthumously promoted) were assigned to the 121st Air Refueling Wing at Rickenbacker Air National Guard Base, Columbus, Ohio.

After the incident, the surviving jet, serial 63-8017, landed at Israel’s Ben Gurion Airport. Images emerged showing that half its tail was sheared off.

Little more was known publicly about the jet – assigned to the 314th Air Refueling Squadron at Beale Air Force Base, California – until it arrived at RAF Mildenhall in the United Kingdom on Aug. 2 with a replacement tail. Local aviation photographer Andrew McKelvey was kind enough to share images he took of the aircraft, one of which you can see below.

Serial 63-8017 left Mildenhall and finally arrived at Tinker on Aug. 3.

After McKelvey sent us the pictures, we reached out to the Air Force to find out how the aircraft was repaired and what would happen to it next. In addition, Mildenhall, as we have previously reported, was also a pit stop for at least two KC-135 tankers that returned from the Middle East full of patch mark repairs from shrapnel damage incurred during Iranian attacks.

“The aircraft are being inducted for programmed depot maintenance, where any damage patched by an Expeditionary Depot Maintenance (EDMX) unit will be fully repaired in conjunction with regularly scheduled 5-year maintenance,” an Air Force spokesperson told us Thursday afternoon. Located at Tinker, the EDMX is “responsible for maintaining the Air Force’s sole source for Aircraft Battle Damage Repair (ABDR) rapid repair capabilities for the entire tanker and bomber fleets,” according to the Air Force.

“Timelines for when the aircraft will fully return to the fleet ultimately depends on the extent of any additional defects or engineering issues identified during the inspection portion of the programmed depot maintenance,” the Air Force spokesperson added. “The current average for this regularly scheduled maintenance is 155 days, but it is reasonable to assume the timeline may be extended based on findings.”

The repair process to keep these aircraft able to maintain full mission capability can be much quicker, the Air Force spokesperson explained.

“Several damaged KC-135 Stratotankers were repaired by members of the 76th Aircraft Maintenance Group’s Expeditionary Depot Maintenance Flight [EDMX], allowing the aircraft to maintain full mission capability to complete deployed missions,” the Air Force added. The EDMX “completed more than 200 repairs over the course of three weeks; effective patches that also allowed the aircraft to return to Tinker Air Force Base for comprehensive repairs.”

The Air Force declined to provide details about the number of aircraft that arrived at Tinker to be repaired after being damaged in the war on Iran and did not immediately provide additional information about the work done on 63-8017 in Israel to enable it to fly again in the first place.

Whether coincidental or not, a few weeks after the mishap in March over Iraq, the Air Force pulled a Stratotanker out of storage and brought it to Tinker.

“At the request of the KC-135 System Program Office, the 309th Aerospace Maintenance and Regeneration Group regenerated KC-135R, tail number 58-011, to support operational requirements,” the Air Force told us back in April. “The aircraft departed on April 2, 2026, en route to the Oklahoma Air Logistics Complex at Tinker AFB, Oklahoma City, Oklahoma.”

The Air Force at the time declined to say if 58-011 was being used specifically to repair jets damaged during Epic Fury.

In addition to the tanker involved in the midair collision, an Iranian attack on Prince Sultan Air Base (PSAB) in Saudi Arabia is said to have damaged five tankers. However, the full destruction inflicted by it and subsequent strikes on PSAB remains murky, as do potential impacts to facilities and aircraft located across the region. The lack of regular satellite imagery from U.S. providers of the Middle East has made it harder to understand what has occurred, but as we state repeatedly, satellite images would not show more minor damage to aircraft, such as the shrapnel holes in images of two KC-135s that made a temporary stop at Mildenhall before heading to Tinker.

As we noted earlier in this story, on April 12, a KC-135, serial 59-1444, belonging to the Ohio Air National Guard’s 121st Air Refueling Wing, arrived at the air base in England covered in patches installed over shrapnel damage. You can see that jet’s arrival in the following photograph.

A little more than a month later, another Stratotanker, serial 63-8028, assigned to the Alaska Air National Guard’s 168th Wing, arrived at Mildenhall also peppered with temporary shrapnel damage repairs. The following photograph shows the aircraft at the base.

The damaged tankers are among at least 40 aircraft damaged or destroyed during the U.S. conflict with Iran. Our last tabulation is from April 10. There have been several other Iranian attacks on air bases in the region housing U.S. aircraft since then, but U.S. Central Command (CENTCOM) has declined to discuss battle damage. So it is possible, if not likely, that there have been additional assets destroyed or damaged.

The Air Force is seeking money to replace some of these aircraft.

“We hope to be able to address this in a supplemental for the aircraft that we’ve lost,” Air Force Chief of Staff Kenneth S. Wilsbach told Congress in April. “And the procurement going forward is meant to increase the number of tails we have, especially in the fighter force, but it will also include bombers and tankers as well. So both the supplemental and the ’27 budget is supposed to address those losses.”

You can get an idea of the extent of U.S. aircraft losses from our graphic linked here.

The fact that these tankers, which have all been in service for more than 60 years, were able to return to flight is a testament to the crews that fixed them. How much repair work they still have to undergo remains unclear.

Tankers are critical assets in high demand, and in this case of these jets, there may be at least one positive side effect from the damage. Executing a battle damage repair plan in the field to get a KC-135 back in the air is a good real-life exercise, one that could prove vital if a future conflict in the Pacific were to erupt. Lessons will certainly be learned on many levels from the war on Iran. And some of these lessons unfortunately, and perhaps needlessly, came the hard way.

Contact the author: howard@twz.com

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.

Squeaky clean

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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.