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More details have emerged about the Northrop Grumman’s Beacon program, an effort to bring autonomous flight software more rapidly into the air. It will use Scaled Composite’s Model 437 Vanguard in modified form as a testbed. This aircraft recently flew for the first time in its new Beacon configuration. You can read more about the Model 437 in these previous TWZ stories.

At the Air, Space & Cyber Conference in National Harbor, Maryland, Tom Jones, the president of Northrop Grumman’s Aeronautics Systems division, announced that the Model 437 Vanguard testbed aircraft had made its first flight after being adapted for the Beacon program earlier this week.

In the past, Scaled Composites provided the following general details about the original Model 437 configuration, which was something of a crewed surrogate for the company’s Model 437 unmanned collaborative combat aircraft concept:

“The Model 437 began as a conceptual design, based on the Model 401, exploring a multi-mission low-cost attritable aircraft. The Model 437 Vanguard is a crewed variant of the original concept powered by a single Pratt & Whitney 535 engine with approximately 3,400 pounds of thrust. The aircraft has a wingspan of 41 feet and is 41 feet long with a gross takeoff weight of 10,000 pounds. After completion of envelope expansion, the Model 437 Vanguard will have a range of approximately 3,000 nautical miles and an endurance of six hours. The aircraft can carry up to 2,000 pounds of payload in multiple locations, including an internal weapons bay sized to accommodate two AIM-120s.”

The Model 437’s Beacon modifications makes it more capable of optionally autonomous and optionally crewed flight using new software payloads. When it comes to optionally crewed aircraft, Scaled Composites has a wealth of experience in this field, including its Firebird surveillance aircraft. 

Prior to this latest milestone, the company had spent nine months reworking the jet’s avionics and power systems so that they could interface with new autonomous controllers.

The Beacon program, which was originally unveiled in June has Northrop Grumman partnered with six defense tech companies: Applied Intuition, Autonodyne, Merlin Labs, Red 6, Shield AI, and SoarTech.

The thinking behind Beacon is to develop an open-access testbed ecosystem, combining flight hardware (and some software) from Northrop Grumman together with software provided by the six partners. The result will provide “an integrated environment that mimics relevant mission scenarios,” helping yield autonomous flight-software solutions.

By “using Northrop Grumman’s flight hardware, proven autonomous flight software and integration expertise, third-party partners can test and refine their solutions through an open-access approach aligned to government requirements,” Northrop Grumman added in a press release when the program was announced earlier this summer.

Essentially, the baseline autonomous flight software from Northrop Grumman will ensure the aircraft can fly safely. This software is, in turn, open and modular, making it straightforward for the partner — and potentially others — to load and test their own autonomous mission software on top of it. This additional software will include technology that focuses on the tactical aspects of U.S. Air Force missions.

The six startups and smaller tech companies will be able to use the adapted Model 437 Vanguard to test their own autonomous technologies, something that would otherwise be beyond their reach or prohibitively expensive. Using Vanguard, testing could be carried out rapidly and affordably, according to Jones. He said the aircraft is cheap to fly and easy to maintain.

According to Tom Pieronek, chief technology officer at Northrop Grumman, the plan is for the Model 437 Vanguard to fly as frequently as possible, perhaps even completing multiple sorties each day. In fact, more than one autonomous mission software package can be installed in the aircraft at any one time, with the pilot using a cockpit tablet to switch between them in flight.

“Beacon is about collaboration across industry between companies of all sizes and expertise,” Jones said back in July. “By providing open access to the Beacon ecosystem, we’re enhancing the innovation, new competition, and ultimately the autonomous capabilities that industry can deliver to our customers — with unmatched speed and at scale.”

When new autonomous technology arrives, the plan is to be able to install it and test it in the aircraft rapidly.

“By being able to use open mission systems and standards and work things like Beacon, we can literally software define something today and test it tomorrow,” said Kevin Fesler, chief customer officer at Red 6. 

“The operative goal is not, ‘Can you get something done beautifully in 10 years? … ” added Jack Zaientz, vice president of C4I and autonomy at SoarTech. “It’s ‘go figure it out, talk amongst yourselves.’” 

At this stage, Beacon is being run using Northrop Grumman’s internal research and development funds.

Before the end of the year, the Model 437 Vanguard should be flown with Northrop Grumman’s own Prism autonomous flight software installed. Initially, a safety pilot will be in the cockpit, able to override the software if needed.

“This is optionally autonomous. The idea being, there are very rigorous rules around airworthiness and safety certification that potentially could stand in the road of rapid innovation in the field of bringing autonomy and AI to fruition for our warfighters,” Jones continued. “By being able to integrate test pilots with the solution and have the ability to always have that safeguard there, we’re able to very rapidly integrate.” 

Ultimately, the plan is for the Beacon program to prove autonomous flight software before feeding it into future aircraft programs, reducing risk in the development process.

One of the main programs that Beacon is expected to inform is the Air Force’s CCA effort, which seeks to field successive iterations of uncrewed combat tactical jets that feature a high degree of autonomy.

Also speaking at the Air, Space & Cyber Conference this week was Chris Gentile, general manager for Merlin Labs, one of the defense tech partners in Beacon. He specifically pointed to the need for an autonomous flight software testbed to help the CCA program.

In particular, as you can read all about here, there are questions about how the Air Force can best bridge autonomous and crewed formations while building trust in the autonomy. Overcoming this challenge is fundamental to achieving the aspiration of future crewed-uncrewed teaming.

“If you look at what venues I have as a performer in this space, as a nation, to test these things, it just doesn’t exist. There has been [only one] representative CCA flight ever in the United States, just two weeks ago, and that was primarily remotely operated — not autonomous in any way.”

CCA is not the only Air Force effort looking at bringing autonomy to its aircraft. The service has also been looking at the potential for autonomy in uncrewed cargo aircraft and aerial refueling platforms, to name just two. Jones has also said that he expects interest in Beacon from foreign customers, as well as the U.S. military. 

The U.S. Air Force is meanwhile also flying its own testbed for autonomous flight software, the X-62A Variable-stability In-flight Simulator Test Aircraft (VISTA), which you can read more about here. Aside from VISTA, other platforms are also now involved in developing autonomous technologies, including but not limited to the MQ-20 Avenger drone, adapted L-29 Delfin trainers, subscale drones, and actual CCAs.

More broadly, there is now a race underway to rapidly prove and improve autonomy models, something that we have discussed in the past in relation to Shield AI and General Atomics.

However, according to Dan Javorsek, president at AI firm EpiSci, the VISTA testbed is not up to the job of fully proving the kinds of technologies required to give CCAs, for example, the required level of autonomy.

Speaking at the same event, Javorsek described VISTA, as well as Project VENOM, in which the Air Force is outfitting six F-16s with autonomy agents, as “completely insufficient.”

“It turns out that to develop precisely the algorithms that you’re going to take into combat with you, you need a place and a playground to go and do this,” Javorsek said.

Under the Beacon program, the Model 437 Vanguard aircraft should be that “playground” testbed, with the key advantage of being optionally manned in a purpose-built platform, one that also represents a real CCA-like design. Now, with a first flight in its new configuration under its belt, it’s on the path to meeting its goals.

Contact the author: [email protected]

A grainy circle flashes on the top-right corner of the screen at the Eagle Theater. The single-screen repertory cinema, run by the nonprofit organization Vidiots, was showing a 35-millimeter print of Paul Thomas Anderson’s psychological drama “The Master.”

The faint warning is easily missed by most viewers, but it appears every 10 minutes, alerting the projectionist to change the reel.

The auditorium was sold out. Audience members clapped as the film title appeared onscreen. There was a buzz in the air even before the lights faded to black with the standby line filled with hopefuls trying to grab a last-minute ticket. The stakes were high for the person manning the reel exchange.

Guests wait to enter the Vidiots movie theater for a movie night in Los Angeles.

Michael Rousselet, a projectionist at the Eagle Rock theater, often drinks a lot of coffee to stay alert during late-night screenings.

“If we do a good job, no one knows we exist,” Rousselet quipped as he showed off the projection booth. “If we mess up, everyone knows we exist.”

The carefully curated communal experience offered by repertory theaters is enduring the hardships of the box office, even after the pandemic, which led to the demise of some well-known cinemas. The famed Cinerama Dome and adjoining former Arclight theater on Sunset Boulevard have still not reopened, despite popular demand.

A Monday screening of a 35-millimeter copy of the 2007 film “Michael Clayton” by American Cinematheque sold out. Independent cinema has captured a niche population that has helped it prevail in a time when box office revenue is tumbling down.

Guests enter the movie theater at Vidiots in Los Angeles.

The summer box office season, which stretches from early May through Labor Day, grossed $3.67 billion in the U.S. and Canada, down slightly from last year and significantly less than the pre-pandemic norm of $4 billion. Some new films with major stars struggle to get anyone to show up. “Americana,” starring Sydney Sweeney, one of Hollywood’s top young stars, earned $500,000 during its opening weekend last month.

The unique cinematic experiences crafted by the different repertory theaters play a pivotal role in revitalizing the film industry in Los Angeles, according to Maggie Mackay, executive director of Vidiots.

“I don’t think you can [raise the next generation of film lovers] through one platform,” Mackay said, sitting down in her auditorium. “I don’t think you can fall in love with an art form by clicking a few times and observing it by yourself.”

Patrons at the bar of the Vidiots’ cinema in Los Angeles.

A 2024 study by Art House Convergence showed that between 2019 and 2024, audiences became younger and more diverse. The number of wide releases have also made the independent industry healthier, according to Rich Daughtridge, president of Independent Cinema Alliance.

Independent theaters “are still down compared to 2019, but the momentum attraction is going up,” he said.

Netflix bought the Egyptian Theatre from American Cinematheque for an undisclosed amount in 2020. The influx of money helped the organization grow the brand and host more screenings — the total jump from 500 screenings to 1,600 with 350,000 patrons visiting their theaters, according to Grant Moninger, artistic director at American Cinematheque.

Part of the reason audiences are choosing smaller theaters over multiplexes is the care and attention staff members put into each showing. The viewing experience at these revival theaters always starts with a crew member reminding the audience to stay away from their phones — they want everyone to enjoy the tiny scratches, dust specks and vibrant colors of the print they are showing.

Patrons watch a movie at Vidiots movie theater in Los Angeles.

“I think people are desperately in search of community right now and of feeling closer to other people and sharing things and not feeling disconnected by technology,” Sean Fennessey, the host of the podcast “The Big Picture,” said after the “Michael Clayton” screening.

“We’re very lucky in Los Angeles that we have so many great spaces … that are encouraging people to come together and hang out and laugh and cry and feel chills,” he added.

Each location offers Hollywood cinephiles and casual viewers alike options to catch a variety of movies based on their niche. Independent cinema has had the least trouble recruiting an audience post-pandemic, according to Art House Convergence.

The Vista Theater and the New Beverly show personal copies from the private collection of Quentin Tarantino, who saved the theaters from extinction. Its recent run of “Kill Bill: The Whole Bloody Affair” sold out and warranted the Vista announcing a new run of it.

American Cinematheque hosted a festival of films handpicked by different podcasters, which sold out screenings in the middle of the week.

Guests wait to enter the Vidiots movie theater in Los Angeles.

Vidiots hosted a discussion with American Cinema Editors member Leslie Jones after a screening of 2012’s “The Master,” a filmed she worked on. The showing sold out and most of its audience stayed late for a Q&A discussion with her.

Regardless of the inspiration these repertory theaters provide with, say, retrospectives of Akira Kurosawa, the model is not bulletproof to the punches theaters have taken. Organizations like Vidiots and American Cinematheque still rely on their nonprofit status.

These organizations count on donations and memberships. Access to directors, actors, prints and people in the industry also plays an important role in keeping afloat, according to Moninger.

“Our job is to get everybody in [the theater]. You can’t just say, ‘Hey, we’re a nonprofit,’” he said.

The uncertainty of the model does leave room for growth, according to Roger Durling, the executive director of the Santa Barbara International Film Festival.

Vidiots technical director Boris Ibanez sets up a section of the film in a projector in the projection booth of Vidiots movie theater.

The nonprofit organization recently purchased the Film Center, a five-screen multiplex, in the downtown Santa Barbara area. It is the second five-screen theater they have purchased, and it will also screen films during the festival every winter.

Throughout the year, when the theaters aren’t showing movies for the festival, the organization will maintain its existence through a repertory model.

“The nonprofit aspect allows you to concentrate more on the artistic side as opposed to thinking, ‘I just need to make money,’” Durling said.

But the thought is still on his mind.

“The more you concentrate on the artistic side of it, the money will take care of itself.”

Liam Hemsworth is ready to give marriage a second chance, now with Australian model Gabriella Brooks.

The “Hunger Games” actor and Brooks are engaged, the latter announced early Friday morning. Brooks revealed the news on Instagram, sharing photos of herself embracing Hemsworth — younger brother of “Thor” star Chris Hemsworth — and snaps of a shimmering seashore and her cushion-cut engagement ring. Brooks captioned her photos with an emoji of a white heart.

The ring featured in Brooks’ post is the same piece that sparked engagement rumors a few weeks back. People reported that the model was seen showing off the ring on her left-hand ring finger as she joined Hemsworth and his brothers for a getaway in Ibiza, where they celebrated Chris Hemsworth’s 42nd birthday.

Brooks, 29, and Hemsworth, 35, are engaged nearly six years after they began dating. They were first seen together in December 2019, just months after Hemsworth filed to divorce “Hannah Montana” star and singer Miley Cyrus. (The exes, who had been on-and-off since they started dating in 2009, got married in December 2018 and announced their separation in August 2019.)

“I wish her nothing but health and happiness going forward,” he said of Cyrus in a statement at the time. “This is a private matter and I have not made, nor will I be making, any comments to any journalists or media outlets.”

Since connecting, the pair of Australians have flaunted their relationship at public events including the Australian Open and the Abu Dhabi Grand Prix. The couple has, of course, hit multiple red-carpet premieres over the years, including those for Liam Hemsworth’s film “Poker Face” and Chris Hemsworth’s “Limitless,” “Extraction 2” and “Furiosa: A Mad Max Saga.”

RENAULT’S beloved Clio has been reinvented for its sixth generation – and drivers in France have been left “dumbstruck” by its surprising new look. 

The new Renault Clio 6, unveiled this week in Munich, has sparked outrage in France, with some claiming the car is unrecognisable.

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One critic said it looked like Ford, another likened it to a Nissan and a third claimed it assembled a seat. 

Several compared it to a Mazda, while others thought they spotted hints of Alfa Romeo or Peugeot. 

Yet they all seemed to agree the Clio 6 does not look like a Renault and in a country with a 126-year attachment to the brand, the absence of its typical features has gone down badly. 

“The discovery of this new Renault has left us dumbstruck,” said Caradisac, the car website. 

“Unrecognisable,” said Capital, the financial magazine. “You can detect a bit of Peugeot, a pinch of Ford, a touch of Mazda and a hint of Seat.” It warned the design “risks disappointing” car-loving readers.

“You don’t change a winning team,” said Les Echos, the financial daily. “However, that is what Renault has done with its new Clio.”

Social media erupted with debate, especially over comparisons to Mazda. One Mazda owner joked: “The new Renault 6 does remind me … of a Mazda 3. This can’t be a bad thing, right?”

The row highlights Renault’s cultural and economic significance in France.

The Clio may not match the legendary Renault 4L or Citroën 2CV, but it has been a modern industrial success story and a familiar sight on French roads.

Over 17 million Clios have been sold since its 1989 launch. 

It was Europe’s second best-selling car last year, behind the Dacia Sandero, another Renault group vehicle, and the top-selling model in France in the first half of 2025. 

“It’s an old love story,” said Challenges, the financial website.

The Clio has even inspired clubs, online forums, and, controversially, a survey in 2023 found 25% of respondents had had sex in their car at least once – the Clio topping the list ahead of the BMW 3 and Audi A4.

The new Clio 6 advertising slogan, “Love redesigned,” hints at the “more spacious and generous” interior Capital mentioned.

Politics and economics also loom large. Renault is France’s only remaining national carmaker, with the state holding 15% to ward off takeover attempts. 

Meanwhile, rivals Peugeot and Citroën are now part of Stellantis, headquartered in the Netherlands.

Conservative voices have criticised Renault’s decision to make the Clio 6 in Turkey, while environmentalists are unimpressed by the hybrid, rather than fully electric, engine option.

Renault insists the car is aimed at a fast-changing market. CEO François Provost said his aim was to rival Chinese carmakers, whom he described as “the best.”

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I WAS one of the first people in the world to have a go with the new iPhone Air.

Details about the ‘thinnest ever’ Apple mobile had leaked before this week’s launch event and I was expecting to think it was a bit pointless. But actually, it’s quite brilliant.

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I had a chance to go hands-on with the ultra-svelte smartphone at Apple Park in California this week.

Apple showed off four new mobiles including the iPhone 17, plus three upgraded Apple Watch models and a fresh pair of AirPods.

But the iPhone Air – with its shockingly skinny 5.6mm side profile – stole the show.

It’s what everyone is talking about. Just trying to get a hold of it at the Apple event felt like entering a warzone.

Once I managed to squeeze past an army of influencers and the world’s tech press, I got a good 10 minutes with the new model.

Here’s what I was worried about.

Firstly, I’m quite used to giant phones. I usually use the Pro Max models, and they fit in my pocket just fine.

Secondly, when you make a phone very thin, you usually have to make some compromises.

It often means sticking a rubbish camera on the back, or slashing battery life, or both.

Apple has managed to produce what is an extremely pocketable mobile with seemingly very few compromises.

The screen is a fairly giant 6.6 inches, making it bigger than the iPhone 17 and iPhone 17 Pro.

It’s also very lightweight at 165 grams.

By comparison, my iPhone 16 Pro Max is 227 grams. The difference is night and day.

The iPhone Air felt feathery in my hand, even though it’s built from weighty (and tough) titanium.

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It’s also nice to hold because of the slim frame.

Apple has crammed most of the core components into the camera bump, leaving the rest of the phone’s body free for battery.

It’s impressive engineering and looks great.

On top of that, my early fears about camera and battery life might come to nothing at all.

Apple says you’ll get a very healthy 27 hours of video playback per charge from the iPhone Air.

I think as long as it gets you through a day comfortably, it’s perfectly fine.

Of course I won’t know for sure until I test it out, but Apple has made a promising…promise.

The camera also looks quite clever.

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I had a quick (and successful) demo in the Steve Jobs Theater, but it’s a beautiful and brightly lit room, so that doesn’t tell me much.

But on paper, the camera sounds decent enough.

You’ve got a 48-megapixel Fusion camera system that allows for multiple focal lengths, plus a telephoto-style system that delivers 2x zoom to what Apple calls “optical quality”.

And it can even capture video in 4K Dolby Vision at 60 frames per second.

The phone packs in Apple’s brand new and very powerful A19 Pro.

And at £999/$999, it’s cheaper than both of Apple’s top-end models – the iPhone 17 Pro and iPhone 17 Pro Max – by £100/$100 and £200/$200 respectively.

It’s one of the most striking iPhone models we’ve seen in years, and I’m excited to test it.

Air we go…

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A BRAZILIAN model has revealed how a hidden tumour made her shoot up to almost seven feet tall – and how her shorter partner won her over.

Elisane Silva, 26, from Salinopolis, stands at a staggering six foot eight and towers over her five-foot-four husband, Francinaldo Da Silva Carvalho, 31.

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But she admitted their nearly two-foot height gap doesn’t faze them – in fact, he was the one to win her over.

Elisane said: “Since I was 10 years old, I always noticed that there wasn’t something quite right as I was the only one in my family and class that stood at a staggering five feet nine inches.”

Her parents, Ana Maria Ramos and Luiz Jorge, were left stunned.

“My mother is only five feet four inches and my father is just five feet seven inches, so it was a shock to our entire family when I was the tallest member at so young,” she explained.

By age 10, Elisane was suffering painful pressure in her bones and head as she continued to grow at an alarming rate.

A doctor recommended tests, but her family couldn’t afford them.

Then a national TV network stepped in, offering to cover her medical bills if she told her story on air.

“A national television network approached my family after hearing my story, and in 2010, we flew to Sao Paulo, Brazil, where I appeared on national television and had all my tests done for free on behalf of the network,” she recalled.

“Although this was embarrassing, I was just glad to finally have an answer and to stop the pain that I was going through as a result of my height.”

Doctors discovered a benign tumour on her pituitary gland, which had triggered an overproduction of growth hormone – a condition known as gigantism.

But while Elisane had answers, school became unbearable.

Classmates bullied her mercilessly, calling her “tower” and “giant.”

“I remember locking myself up at home as I felt so sick with the hurtful comments and words people were constantly saying to me,” she said.

“I decided to give up and it was the hardest decision I have ever had to make, as I wanted to continue studying, but I knew that I wouldn’t last any longer in that environment.

“At the time, I was 17 years old, so my parents didn’t have much to say on the matter and I was really lost about where to go next in life.”

Everything changed when she met Francinaldo in 2011.

“I fell for him right there and then, as he was the first person to treat me like a human being and not some freak of nature,” she said.

“Although there is an obvious height difference, we don’t see it as an issue as we love each other just the way we are and wouldn’t want anything to change.”

The couple got engaged quickly and tied the knot in September 2015. They later welcomed their son, Angelo, now three.

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“We used to get comments from people in the street when we were walking together, I’m no longer the center of attention now we have our beautiful son,” Elisane said.

Angelo is already three foot three, but Elisane doesn’t believe he’ll inherit her towering stature.

“I don’t believe he will grow to be as tall as me because I don’t think my condition is hereditary,” she explained.

“I think he will grow up to be average height – but even if not, he should embrace the unique asset he has been given.”

After years of shame, Elisane now embraces her frame and is pursuing her lifelong dream of becoming a professional model.

“Although I haven’t been successful just yet, I usually go out and take professional photos of myself and add it to my portfolio to pass on to agencies,” she said.

“Despite no agencies picking up on them yet, these photo sessions have helped my levels of confidence immensely and I have started to love myself for who I am.”

While she’s been branded the “tallest woman in Brazil” online, Elisane says it’s not an official title – though she’s learned to wear the label with pride.

“I have learned to love myself for my unique height, as there’s no one quite like me and I think that’s rather special,” she said.

“I have found a good man to love, have a wonderful son, a beautiful family, and I am grateful that God has taught me to overcome these obstacles in life.

“Don’t let people’s evil comments interfere with your life, as it’s not for them to judge you based on how you look or who you love – stay true to yourself and you’ll live happily.”

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HEARTBROKEN friends and family have paid tribute to an “amazing” mum-of-three who tragically died after getting into difficulty at a reservoir.

The body of 33-year-old Kimberley Johnson, known as Kim, was pulled from Strinesdale Reservoir near Oldham on Sunday, August 17.

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Emergency services rushed to the beauty spot on the A62 between Oldham and Delph after reports of a woman struggling in the water at around 4pm.

Police sealed off the area while fire crews, paramedics and the specialist water rescue unit battled to find her.

Despite desperate efforts, Kim was confirmed dead shortly after being recovered from the water at 6.25pm.

Greater Manchester Police said there are no suspicious circumstances. A spokesperson confirmed: “Emergency services responded to an incident at Strinesdale Reservoir at around 4:50pm yesterday after reports of a woman getting into difficulty in the water.

“Sadly, the body of a woman was recovered.

“There are no suspicious circumstances surrounding her death.”

The tragedy has rocked the local community, with tributes pouring in for the young mum, who was described as kind, soft-spoken and full of life.

Her close friend Tanya Kennedy told how Kim “always lit up every room” and had been a constant source of support and inspiration to those around her.

Tanya said: “Kim was such an amazing woman, she took me in when I was younger and from there she always treated me like a sister.

“I really wish I could speak to her one last time.

“I absolutely adore Kim and she has been a big role model for me, walking around Rochdale or even sitting at the canal messing about.

“Kim was a really important person to me and I regret not messaging her more or seeing her more often.

“She was one of those people who would tell you as it is but also the most kind hearted, soft spoken person I’ve ever met.

“I am really going to miss Kim, always lighting up every room she walked into.

“My thoughts and prayers are all to the family at this time. Rest in peace babe.”

Friends have since gathered online to share their grief, describing her as “one of a kind” and “taken far too soon”.

In another tribute, Curtis King wrote: “R.I.P Kim Louise Johnson my love and thoughts go out to all your family. A beautiful soul lost way too young.”

Residents in Oldham said the reservoir is a popular walking spot but warned the waters can be treacherous.

One local said: “It’s heartbreaking to hear someone has lost their life there. It looks calm on the surface but it can be dangerous.”

Kim leaves behind her three children, who friends say were the “centre of her world”.

Those who knew her best said she was a devoted mum who worked hard to give her family the best life possible.

The tragedy has sparked fresh warnings about the dangers of swimming in open water, especially during the summer months.

Experts say hidden currents, sudden drops and freezing temperatures can all pose a risk.

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A 75-YEAR-OLD model who’s never had Botox has revealed the £2 Temu buy she swears by to stay looking young.

Penelope Tree first made a name for herself in the 1960s, and has enjoyed a resurgence of success in recent years – walking the runway for Fendi and Richard Quinn and appearing in a star-studded ad campaign to mark Zara’s 50th anniversary.

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And while she used to be “obsessed” with her appearance when she was younger, she’s now “more interested in what’s going on” around her.

She’s also “not trying to prove anything” by undergoing cosmetic procedures to maintain a flawless facade.

“You just have to accept the inevitability of ageing. I don’t really see what’s wrong with it!” she told the MailOnline.

“And I don’t like hospitals or the idea of being fiddled with in a surgical way.

“Also, repeated plastic surgery does tend to make people look like replicants (bioengineered humanoids).”

Instead, she prefers a more natural way of reducing the look of her wrinkles – anti-ageing face tapes.

The adhesive tapes have threads attached, which can be pulled and secured discreetly around the head to make the face look more taut.

And they won’t set you back anywhere near as much as Botox either, as you can pick them up for just £2 on Temu.

Other celebrities who use the tapes include Joan Collins and Bella Hadid.

She’s also a big fan of Charlotte Tilbury’s Magic Cream and Trinny London’s The Elevator cream.

“In my 20s my currency was my beauty,” Penelope continued.

“Now my currency is being alive, interested and curious.

“I just leave it to the hairdressers and the make-up artists to make me look as good as I can, which isn’t easy!”

As for her fashion sense, Penelope loves “statement jewellery”, which said makes older people “look fabulous”.

And she loves shopping at the “affordable and fabulous” Zara.

“I wear an orange Zara suit every summer and it’s the most complimented outfit I’ve ever worn in my life!” she admitted.

How is celery juice an anti-ageing potion?

Celery juice is packed with antioxidants like vitamin C and flavonoids, which combat free radicals that cause cellular damage and aging.

Its high water content keeps your skin hydrated and plump, reducing the appearance of wrinkles.

The anti-inflammatory compounds in celery, such as apigenin and luteolin, help reduce chronic inflammation linked to ageing.

Rich in essential nutrients like vitamin K and potassium, celery juice supports overall skin health and body functions.

Drinking celery juice regularly can complement a balanced diet and skincare routine, promoting a youthful glow from within.

But while she’s happy to save money on the majority of her wardrobe, there’s one thing she’ll always splash out on – and that’s denim.

“If there’s one thing I have learnt as I have aged, it’s to spend money on jeans,” she said, adding that she’s had the same pair for three years and insisting they’re “good as new”.

The New York-born actor has starred in a number of hit shows, including Buffy the Vampire Slayer, Angel, Bones, and most recently SEAL Team. But where is he now?

David Boreanaz was a little-known actor when his life changed forever in 1997. The star had only appeared in a handful of small film roles and in a single 1993 episode of Married… with Children before landing the role of reluctant vampire Angel in the hit series Buffy The Vampire Slayer.

He instantly became a breakout star, and a household name when his character was given a spin-off series, Angel, which aired for five seasons from 1999 to 2004. But where is the New York-born star now and what has he been up to? We take a closer look at David’s life both on and off the screen.

READ MORE: Where the Buffy the Vampire Slayer cast are now – tragic deaths, and controversial affairsREAD MORE: Buffy the Vampire Slayer’s forgotten celebrities from Amy Adams to ER star as it hits ITVX

Acting gigs and health fears

David’s most recent high-profile acting job was starring in SEAL Team, an American military drama television series that follows an elite unit of United States Navy SEALs.

He starred as Master Chief Special Warfare Operator Jason Hayes a.k.a. Bravo 1/1B, the leader of the team, to much acclaim. The seventh and final season of the show premiered in August 2024.

Speaking about the physical toll it took on his body – and explaining why the season would be his last – David, 56, told People: “My body just can’t do it anymore!”

He added: “You learn from the SEALs how to push through pain — I’m talking guys who have had their arm blown off and are cracking jokes because that’s how they deal with it. It’s very intense.

“I take good care of myself, but it gets to a point where your body’s not moving like it used to… I think I’ve had four MRIs in the past four months, for my knees, hips, shoulders. It’s been quite a journey.”

READ MORE: SEAL Team star David Boreanaz ‘considering’ return to iconic role after series finale

Family life

David has been married to former Playboy model Jaime Bergman since November 2001 and together they share two children – son Jaden, 23, and daughter Bella, 15. Prior to finding love with Jaime, he was married to Ingrid Quinn from 1997 to 1999.

In May this year, David shared a post in celebration of Jaden’s birthday, sharing a series of photos and writing in part: “Happy Birthday son. You shine to the stars and reach for the moon in ways that light up rooms with love and laughter. You are my everything and my world. I love you…”

Scandals

In 2010, David admitted to having an affair with Rachel Uchitel, the same woman with whom Tiger Woods allegedly cheated on his wife with. At the time, his wife Jaime was reportedly pregnant with their second child.

In her statement to Access, Rachel said of their affair: “First of all I want to make it clear that he pursued me. Second, the authentic texts which I have reveal that David Boreanaz repeatedly expressed his deep love and affection towards me.

“Third, I broke off the relationship because I no longer respected or trusted him. Finally, I am deeply hurt and offended that anyone would think that I wanted to break up his family. Nothing could be further from the truth.”

Speaking in October 2011, David told TV Week: “In a sacred ground like marriage, you find yourself out of it at certain times for reasons unknown that can be destructive. There could be a demon that kind of comes out and overtakes you.

“Do I believe in giving up? No, I don’t. I’m a fighter. I’m a lover,” he said. While Jaime said at the time of his confession that she was ‘angry’, the pair decided to work on their marriage.

It’s not the only storm the couple have weathered. In 2010, a co-worker on the set of Bones sued David for alleged sexual harassment, claiming he repeatedly attempted to kiss and fondle her.

David’s spokeswoman at the time called the allegations “fabricated and absurd”. In March 2011, The co-worker then dismissed the lawsuit against David, according to court records. She wrote in an email that it had been “resolved” but did not offer further details.

Future plans

David has hinted at some exciting future endeavours, telling People after SEAL Team ended: “I have plans. My work ethic is always head on a swivel, be in the now, don’t look back, don’t look far down the pipeline.”

Acknowledging at the time that he was ready for a break after starring in back-to-back series for nearly 30 years, he admitted he’s not good at sitting still.

“Vacations are good until, like, the second day, and then I’m bouncing my knees thinking about what we’re going to do next,” he said.

“My mind is always actively going. Work to me is relaxation, it fulfills me.” Work, he said, and spending time with his kids. “That’s it.”

Certainly, David seems to be embracing his role as a proud father. Speaking last summer, he told the publication: “I just helped my son move out of his apartment in New York. It was a test of patience!

“My son did most of the packing and setting it up for the new tenant while I helped from the outside, but it was a tornado. Parenting is such a journey. It never ends, and it never gets easier!”

The Bones alum continued: “He went to NYU, but he decided to take a break from it during the last year. He’s an artist and a musician so he’s staying true to his soul… you have to go with the beat of your heart.”

As for daughter Bella: “My daughter is an excellent equestrian. She’s a loving adventurous soul. Both of my kids are doing their own thing. I’m very protective of them, but everyone’s great. My son is a singer, an artist, and a musician, my daughter is in high school. Everyone is good.”

Pete Davidson is going to be a father.

The “Saturday Night Live” alum’s girlfriend, British model and actor Elsie Hewitt, confirmed the news Wednesday with a cheeky Instagram post.

“Welp now everyone knows we had sex,” the model captioned a carousel of pregnancy photos, images of the pair and memes (including the viral “Love Island” “mamacita” moment).

Davidson, who famously avoids social media and does not have a public Instagram account, has not yet commented on the news.

Hewitt, 29, and Davidson, 31, first sparked dating rumors in March when they were spotted kissing in Palm Beach, Fla., and they’ve reportedly been living together in Brooklyn and Upstate New York. They made their red carpet debut in May at the Blossom Ball in New York City.

Hewitt, who previously dated Jason Sudeikis and Benny Blanco, has modeled for Guess and was a Playboy Playmate. She landed her first television role in 2018 on the series “Turnt” and has since made appearances on rapper Lil Dicky’s sitcom “Dave.”

Since Davidson left “SNL” in 2022, he has pivoted to focus more on stand-up and movies. The comedian — whose high-profile exes include Ariana Grande, Kim Kardashian, Madelyn Cline, Kate Beckinsale, Margaret Qualley, Kaia Gerber and Phoebe Dynevor — has a few projects lined up this year, including a starring role in the horror movie “The Home,” out July 25.

Davidson spent eight seasons on “SNL,” where he served as the show’s “resident young person,” developed his popular recurring character “Chad” and even bought a boat (the Staten Island Ferry) with co-star Colin Jost. He returned to host in 2023 and participated in the 50th anniversary special in February.

The EV maker also opened its first showroom in Mumbai on Tuesday.

Tesla has launched its Model Y in India for about $70,000, a significant markup relative to its other major markets, reflecting the country’s high tariffs on electric vehicle imports, which CEO Elon Musk has long criticised.

The electric carmaker announced the price on Tuesday.

Deliveries are estimated to start from the third quarter, the US automaker is targeting a niche electric vehicle segment in India that accounts for just 4 percent of overall sales in the world’s third-largest car market.

It will compete mainly with German luxury giants such as BMW, Mercedes-Benz and South Korea’s Kia rather than domestic mass-market EV players such as Tata Motors and Mahindra Auto.

On Tuesday, Tesla opened its first showroom in Mumbai and began taking Model Y orders on its website, marking its long-awaited entry into the market where Musk once had plans to open a factory.

For now, Tesla will import cars into a country where tariffs and related duties can exceed 100 percent, driving up the price for consumers.

Tesla’s Model Y rear-wheel drive is priced at about $70,000 (6 million rupees), while its Model Y long-range rear-wheel drive costs roughly $79,000 (6.8 million rupees), according to the website.

Tariff pressures

The prices include the tariff and additional levies imposed by the state. There was no breakdown of the price on the website and Reuters could not immediately ascertain the listing price.

They compare with a starting price from $44,990 in the US, $36,700 (263,500 yuan) in China, and $53,700 (45,970 euros) in Germany.

At the media-only event at the showroom, Tesla displayed two Model Y cars made in China and its supercharger, which it will install at eight different locations in Mumbai and in and around New Delhi, where it is also expected to open its next showroom.

“We are here to create the ecosystem, to invest in the necessary infrastructure, including the charging infrastructure,” Isabel Fan, a regional director at Tesla, said at the launch event.

“We are building from 0 to 100. It will take time to cover the whole country.”

Grappling with excess capacity in global factories and declining sales, Tesla has adopted a strategy of selling imported vehicles in India, despite the duties and levies.

The US EV maker has long lobbied India for lower import tariffs on cars, and Prime Minister Narendra Modi’s officials remain in talks with US President Donald Trump’s administration to lower the levies under a bilateral trade deal.

Tesla’s US factories also do not currently make the right-hand drive vehicles that are used in India.

Although India’s road infrastructure has improved, traffic discipline – like lane driving – is still rudimentary, EV chargers are far and few and stray animals, including cattle, and potholes on the road are a big hurdle, even in cities.

“In the future, we wish to see R&D and manufacturing done in India, and I am sure at an appropriate stage, Tesla will think about it,” Maharashtra Chief Minister Devendra Fadnavis told reporters outside the new Tesla outlet.

Xu sat A-Level biology exams in-between her matches at the British grass-court tournaments, but she is now able to fully focus on tennis.

The US Open junior semi-finalist believes she will not be daunted by playing 22-year-old Raducanu on one of the biggest stages in the sport – potentially on Centre Court or Court One.

Xu was moving between rented accommodation when the draw was made at Wimbledon on Friday, and was left in suspense about who her opponent would be.

Xu and mum Wendy started receiving messages before they had seen the news.

“It was funny because we were moving at like 10:05am and I got a message from my coach saying what an exciting draw,” Xu said.

“And then my mum’s getting messages saying ‘that’s so good and so exciting’, but they weren’t saying the name.

“So I’m like, ‘oh my gosh, what is the draw? Who am I playing?’ so I went onto the Wimbledon website and it wasn’t there. Eventually someone told me.

“I feel like I’m really ready and excited for it. It’s going to be a really good test for me – a good opportunity to go out, play and have fun.”

Xu is one of three British players aged 17 and under in the women’s draw – the first time this has happened in Wimbledon history.

Hannah Klugman and Mika Stojsavljevic – both aged 16 – have also been handed tough draws against seeded players.

The trio have known each other since they were little and have developed together through the ranks.

“To play Wimbledon for the first time together is cool,” US Open junior champion Stojsavljevic added.

When you gather the creative minds behind six of the most entertaining and acclaimed shows of 2025, the conversation is destined for narrative intrigue. The writers who took part in this year’s Envelope Roundtable touched on social media blackouts, release strategies, runaway production, even the wonder of Bravo’s “The Valley.” How’s that for a twist?

This panelists are Debora Cahn of “The Diplomat,” about an American foreign service officer thrust into a thorny web of geopolitics; R. Scott Gemmill of “The Pitt,” which focuses on front-line healthcare workers inside a Pittsburgh hospital during a single 15-hour shift; Lauren LeFranc of “The Penguin,” a reimagining of the Batman villain Oswald Cobblepot as a rising Gotham City kingpin, Oz Cobb; Craig Mazin of “The Last Of Us,” an adaptation of the popular video game series about survivors of an apocalyptic pandemic; Seth Rogen of “The Studio,” a chronicle of the film industry’s mercenary challenges as seen through the eyes of a newly appointed studio chief; and Jen Statsky of “Hacks,” about an aging comic’s complicated relationship with her outspoken mentee.

Read on for excerpts from our discussion.

The 2025 Writers Roundtable: Lauren LeFranc, left, Jen Statsky, Craig Mazin, Seth Rogen, Debora Cahn and R. Scott Gemmill.

Lauren, you’re making a series that is tethered to source material that’s really beloved by fans. I’m curious what the conversations are like with DC, or “The Batman” director Matt Reeves, when your series has to fit into a larger canon.

LeFranc: I knew where Oz ended in “The Batman.” I knew my job was to arc him to rise to power and achieve a certain level of power by the end. Outside of that, I was given carte blanche and I could just play. And that’s the most exciting thing to me. We both were in agreement that this should be a character study of this man. I love digging into the psychology of characters.

So many people were like, “Do you feel pressure? What’s this like for you?” And I was like, “Am I numb as a human?” I don’t feel that kind of pressure. I feel pressure to tell a great story and to write interesting, engaging characters that are surprising and to kind of surprise myself. I’m not the first type of person you would think who would get an opportunity to write a guy like Oz, necessarily, and to write into this type of world. I think there’s been a lot of crime dramas and a lot of genre shows or features that don’t have the lens that I have on a man like that. So I took that seriously. And I also really wanted to pepper the world with really interesting, complicated women as well. I felt like, in some of these genres, sometimes those characters weren’t as fully formed.

Craig Mazin of “The Last of Us.”

(Jason Armond / Los Angeles Times)

Craig, you know what it’s like working with source material, and we knew the fate of fan-favorite character Joel, who dies in Part 2 of the video game. Tell me about your experience of the death of Joel in the video game — playing it — and how that informed what you wanted to see out of Season 2 and where exactly it would fall.

Mazin: I was upset when it happened, but I wasn’t upset at the game. It was, narratively, the right thing to do. If you make a story that is about moral outcomes and the consequences of our behavior, and somebody goes through a hospital and murders a whole lot of people, and kind of dooms the world to be stuck in this terrible place, and takes away the one hope they have of getting out of it, yeah, there should be a consequence. If there’s no consequence or even a mild consequence, then it’s a bit neutered, isn’t it? It made sense to me and it made sense that if we were going to tell the story, that was the story we were going to tell. Sometimes people do ask me, “Was there any part of you that was like, ‘Hey, let’s not have Joel die?’” No. That would be the craziest thing of all time.

How quick were you watching the real-time reaction from fans?

Mazin: I don’t do that.

Rogen: But how do you get validation? How do you know to feel good?

Statsky: Can you teach me not to look?

Mazin: I think I’m looking for validation. Really what I’m looking for is to repeat abusive behavior toward me — that’s what my therapist says. For all of our shows, millions and millions and millions of people are watching these around the world. And if 10,000 people on Twitter come at you for something, that is a negligible number relative to the size of the audience, but it sure doesn’t feel [like it]. So I made a choice. The downside is I do miss the applause. Who among us doesn’t love applause? I’ve just had to give that feeling up to not feel the bad feelings.

Seth Rogen of “The Studio.”

(Jason Armond / Los Angeles Times)

With a show like “The Studio” or “Hacks,” does it feel cathartic to lampoon the industry or show the ridiculous nature of the business and the decision–makers sometimes?

Rogen: What’s funny is, as we were writing the show, we never used the word “satire.” To us, the goal was not to make fun of any element of the industry — honestly, it’s mostly based on myself and my own fears, as someone who’s in charge of things, that I’m making the wrong choices, and that I’m prioritizing the wrong things, and that I’m convincing my idols to work with me and then I’m letting them down, and I’m championing the wrong ideas. That I’m making things worse and that I’m giving notes to people that are detrimental rather than exciting, and that I’m mitigating my own risks rather than trying to bolster creative swings. That was the startling moment where I realized I personally relate in my darkest moments to a studio executive more than I do a creative person in the industry in many ways. And that was kind of the moment where I was like, “Oh, that’s a funny thing to explore.”

Jen Statsky of “Hacks.”

(Jason Armond / Los Angeles Times)

Statsky: But it’s interesting when you put it like that, because of the part of showrunning where you become management and you’re much more on that business side [of] running a show. We’re executives in many ways too.

Mazin: I have a question for you. How do you deal with the fact that — as we kind of move through things as writers, we are always comrades, we are colleagues of people. When you become a showrunner, you don’t notice it at first, but there is this barrier between you and everybody, and one day you wake up and realize, “Oh, it’s because they look at me and see someone who can fire them, who can elevate them, who can change their lives for better or worse.” And you start to feel very, very lonely all of a sudden.

Statsky: Oh, there’s a group text you’re not on.

Mazin: And it’s about you.

Statsky: It’s about you. It’s such a hard part of this job that I struggle with very much because as writers, we are empathetic to others, and we are observing the world, and we are trying to commune with people as best as possible. But then you do this thing and you’re like, “I like writing, I like writing, I like writing.” And they’re like, “Great. Now here’s a 350-person company to manage and you become a boss.” I struggle with it a lot, the thinking of people’s feelings, thinking of people’s emotions, wanting to be in touch with them, but then also, at the end of the day, having to sometimes make really difficult management-type decisions that affect people’s livelihood. I find it very challenging. I need your therapist for that as well.

Debora Cahn of “The Diplomat.”

(Jason Armond / Los Angeles Times)

Debora, you have a character, a female vice president, who’s been doing the bidding of an older president whose capabilities have been called into question, and spoiler alert, she becomes president. The season launched a week or so before the 2024 presidential election. What was that like? And how is it writing a political drama now versus when you were working on “The West Wing”?

Cahn: Back in “The West Wing” days, we would have people come in, people who worked in the field, and we would say, “What are you worried about that we don’t know to worry about yet?” And that was a pretty good barometer for getting an interesting story that was likely to still be topical in a year. That’s all you want, really, is to not be completely lapped by the news when you’re trying to tell a story that’s not going to go to air for a year. Now, we’re released from any boundaries of any kind. There’s nothing that we can do that’s more absurd than what’s happening. Suddenly, we’re doing a documentary, or we’re doing a balm for what you wish government was like or what you vaguely remember it was like. But we’re trying to stay in the headspace of, “What is the foreign policy community going to be thinking about in the next two years?” and trying to find something that will continue to feel relevant. But more and more it’s like, “What are the conflicts that sane people have with each other in this field? What happens when you can look at two people and you feel like they both have good values and they are kind to children? What do they fight about?”

R. Scott Gemmill of “The Pitt.”

(Jason Armond / Los Angeles Times)

Let’s talk about release strategies. There’s the traditional, week-to-week model and the more modern, all-at-once model. There’s a mix of both in the marketplace. Scott, with “The Pitt,” you could just see the way people rallied around every week to see what happened next. What do you like about the weekly release?

Gemmill: I’ve only ever done that. This is my first streaming show, and we are doing it in a traditional drop a week. So I’ve never had a show that was bingeable. I don’t know any other way. At one point, they were going to release three episodes at once, but they only released two [at the start]. I don’t have a dog in that fight. I think my show, just because of the nature of it, would be very hard to binge.

Rogen: As someone who’s been bingeing it, I can attest to that. [To Cahn] Yours comes out all at once.

Cahn: It does. I don’t love that. It’s not what I would choose. I think Netflix offers a lot of other pluses. [It’s] got a big audience all over the world and that’s really nice. But I came up in broadcast television, and the idea that you’ve created this thing and it’s a story that you’ve experienced over time, and then people are like two days and done, it just —

Mazin: It’s weird.

Cahn: And it changes the way that you write.

Mazin: Over the last few years, what’s happening is, for shows that are coming out week by week, people will now save up three at a time. So they don’t want to watch week after week. There’s this weird accordion thing going on, and I don’t know where this is going. I don’t think any of us do. I’m a little nervous about the week by week. I am just hoping that it remains.

I thought for sure one day Netflix would go, “Why are we doing this?” Because I really didn’t understand. I still don’t understand.

Cahn: I have this question every three months.

Rogen: They don’t have an answer.

Cahn: It works for them.

Gemmill: Wonder why they complain about grind. Because it’s not there. Well, it’s because you put it all out at once.

Mazin: But then what I’m worried about is that they’re right. I’m just wondering if people are starting to lose their patience.

Statsky: Attention span. I think they are. I’ve even noticed, because we used to drop two a week. In this season for “Hacks,” we’ve done one a week. I saw a couple tweets where people were like, “Why are the episodes shorter this year?” I was like, “Well, they’re not. You used to watch two.” But I do think the one-a-week model, because now people are so trained [to binge] — like you’re saying, the attention span, it’s scary. I don’t think people want to watch like that anymore.

Rogen: I produced “The Boys,” and we actually went from them all coming out at once to weekly. And it did not affect the viewership in any way, shape or form was what we were told. What it did affect, that we could just see, was it sustained cultural impact. People talked about it for three months instead of three weeks of incredibly intense chatter. It just occupied more space in people’s heads, which I think was beneficial to the show.

Cahn: When they’re coming out one a week, you can repeat things that you can’t when they’re coming out all together. You have to look at them in terms of, did they each have the same rhythm? Are they each really featuring the same characters and storylines? You have to think about it in terms of, “If people do three at a time, what’s their experience going to be?” It’s terrible.

The talk of the town is runaway production and how to stop it. Scott, “The Pitt” is set in Pittsburgh and you did film exteriors there, but principal production happened on the Warner Bros. lot. Talk about why that was important for you.

Gemmill: The show could have been shot in Moose Jaw. But it was important to bring the work here, so we fought really hard to get the California tax credit. The most important part of my job besides writing producible scripts that are on time is to keep my show on the air as long as possible, to keep everyone employed as long as possible. And that’s the thing I like the best about it. This is the first show that Noah [Wyle]’s done since he left “ER” that’s shot in Los Angeles. It’s a shame. There’s more production now, but when we first were at Warner Bros. for this, it was a ghost town. It’s so sad because I’ve been in the business for 40 years and still get excited when I go on a lot. And to see them become unused just because it’s cheaper to shoot somewhere else … and there’s so many talented people here, and it’s hard on their families if you have to go to Albuquerque for six months. I don’t ever want to leave the stage again.

Mazin: We did our postproduction on the Warner Bros. lot, but we shoot in Canada. And I love Canada. But yeah, of course, I’d love to be home. I like doing postproduction here. I’ll take what I get. The financial realities are pretty stark, that’s the problem. If you are making a smaller show, the gap is not massive. If you’re making a larger show, every percentage becomes a bigger amount of money and also represents a larger amount of people to employ. But what’s good is it seems like they’re starting to get their act together in Sacramento. I do worry sometimes it’s a little bit too late, because the rest of the world seems to be in an arms race to see how many incentives they can give to get production to go there.

I’m hoping that at least we can start to move the needle a bit because, listen, that Warner Bros. lot, when I was a kid starting out, I would go on that lot, I would see the little “ER” backlot with the diner and all of it. And I was like, “That’s on TV. It’s here.” And now I walk around the Warner Bros. lot and it’s just a single tram full of tourists and no one else. And it’s so, so sad.

Lauren LeFranc of “The Penguin.”

(Jason Armond / Los Angeles Times)

LeFranc: It’s really heartbreaking. You used to be able to write what you’re doing, produce, do post all on the same lot. You had a family that you were able to form, and you could mentor writers. I would not be able to be a showrunner if not for all the people who came before me who mentored me, and I could walk to set, produce my own episode, and then I can walk to post. It’s so hard now where you’re asking writers, especially if networks aren’t paying for writers to go to set, “Can you pay for yourself to fly to New York?” It just makes it so hard to be able to educate people in the way that I feel like I was privileged enough to be educated. What are we going to do about that?

Gemmill: Mistakes get made. The best part about the whole business is it’s collaborative. But when you’re separated by thousands of miles, sometimes there’s a disconnect.

Before we wrap, please tell me what you’re watching. Jen, we were talking about “The Valley” earlier.

Rogen: Oh, I watch “The Valley” too. It’s amazing. Do you watch “The Valley” aftershow? It’s almost as good as “The Valley.”

Statsky: I’m really worried about Jax.

Rogen: We watch reality television. I see the blank looks on everybody’s face.

Statsky: We’re in comedy.

Mazin: I can’t believe how scared I was when you were talking, and then how good I felt when you’re like, “It’s a reality show.”

Statsky: So, you know “Vanderpump Rules”?

Mazin: Ish.

Statsky: It’s an offshoot.

Rogen: Which is an offshoot of —

Statsky: “Real Housewives.”

Mazin: This is an echo of an echo. Go on.

Statsky: Yes, it’s an echo of an echo of garbage.

Rogen: But it’s so good.

Statsky: But it is the worst indictment of heterosexual marriage I’ve ever seen.

Rogen: Yes, it really is.

Mazin: Oh, so incidentally, the San Fernando Valley is what it’s [about]? It’s about Valley Village.

Statsky: Valley Village. It’s the couples that have moved to the Valley and are having children and —

Rogen: And they are all in very bad places in their lives. It’s amazing.

Statsky: You think [in] reality shows most people are in bad places. That’s sadly what people want to watch. These people are in particularly bad places.

Rogen: And the show seems to be compounding it, I think.

Statsky: Yeah, weirdly, being on a reality show is not helping their problem.

Rogen: I find that I watch reality TV because when I watch all of your shows, I find them intellectually challenging. They make me self-conscious, or they make me inspired or something, which is not how I want to feel necessarily after a long day at work just watching something. And so reality TV makes me feel none of those things. It in no way reminds me of what I’ve done all day.

Mazin: If you make me dissociate, I’m watching.

Statsky: You’re going to love it. But once you start watching, Jax owns a bar in Studio City. We can all go. We can reunite.

Mazin: I’ve gone to that bar.

Rogen: You been to Jax’s?

Mazin: Yes, I’ve been to that bar.

Statsky: Wait, hold on. But everyone else in that bar was there because they watched the reality show. Why were you there?

LeFranc: Out of context, I’m so invested in all this.

Rogen: You’ve got to watch it. … Nothing I will ever make is as good as “The Valley.”

A MAJOR car manufacturer is axing its record-breaking hot hatch just three years after its latest revamp.

The FL5-generation Honda Civic Type R is being culled in the UK and Europe from 2026 – but is set to go out with a bang.

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Forty final Ultimate Edition models with a classic Championship white paint job, and red accents, including a central pinstripe, are being made as a swansong – but is likely to cost more than the regular Type R (£48,900).

Just 10 of these special edition motors will be available in the UK – and these will be available on a first come first serve basis, according to Honda.

The news will come as a bittersweet blow to petrol heads, with the FL5 having broken countless front-wheel drive lap records during its short reign.

Honda’s European strategy boss Hannah Swift put the axing down to the industry “changing” and an evolution of its model range “in accordance with European legislation”.

Those changes relate to stricter emissions standards in Britain and the EU, with which the Type R doesn’t comply.

The four-wheel-drive hatch market comprises of the Golf R, Toyota GR Yaris and Mercedes-AMG A45 S – but all are risk due to the new regulations.

Several brands are instead moving to e-performance cars.

It comes 28 years after the first Civic Type R arrived as a grey import from Japan.

Arriving in late 1997, before a second generation model in 2001, a third in 2007 and a fourth in 2015.

Its fifth and sixth generations are widely regarded by experts as the finest driver’s cars of the modern age.

According to the Honda website, the current Type R features a two litre- four cylinder VTEC TURBO engine and can accelerate from 0-100km/hr in 5.4 seconds.

It adds: “The Type R is the fastest front wheel drive car to have driven the legendary 5.8km Suzuka circuit.”

Ms Swift said: “As we say farewell to a true icon of the Honda automobile line-up in Europe, we thought it was fitting to give the Civic Type R the ultimate send-off with this special edition model offering our customers a unique opportunity to celebrate its legacy.

“The industry is changing, and our model range is having to evolve with it in accordance with European legislation.

“However, Type R has always been Honda’s ultimate expression of our passion for driving excitement, and we look forward to celebrating its heritage in the weeks and months ahead.”

Ten things YOU should know as a car owner

To help you feel more confident as a car owner, here are ten things you should be familiar with about your vehicle:

The resurgence of conflict in eastern Democratic Republic of the Congo has drawn renewed international attention following M23’s swift capture of Goma and Bukavu in late January 2025. In response, global actors have called for an immediate ceasefire and direct negotiations. Notably, Qatar and the United States have stepped forward as emerging mediators. This new momentum offers a rare opportunity to revisit the shortcomings of past mediation efforts – particularly failures in disarmament, demobilisation and reintegration (DDR), wealth-sharing, and regional consensus. Any new diplomatic initiative must prioritise these elements to forge a durable settlement and lasting regional stability.

To achieve a sustainable and enduring peace in eastern DRC, it is essential to address the root causes of the conflict. The region’s vast deposits of natural resources – especially rare earth minerals – have attracted international, regional and local actors competing for control, fuelling instability. Compounding this is the Congolese central government’s limited capacity to govern the eastern provinces, enabling the proliferation of armed groups with diverse allegiances. Ethnic tensions further exacerbate the crisis, particularly since the 1994 Rwandan genocide, after which the arrival of Hutu refugees and the formation of hostile militias heightened insecurity and cross-border conflict.

While regional dynamics, including Rwandan involvement, are undeniably significant, attributing the conflict solely to Rwanda risks oversimplification. Such narratives obscure the DRC’s longstanding structural inequalities, particularly the marginalisation of Congolese Tutsi communities. A durable peace must engage with these internal dynamics by ensuring the meaningful inclusion of Congolese Tutsi in the national political framework and addressing their grievances through equitable and just mechanisms.

Despite repeated international engagement, past mediation efforts in eastern DRC – from the Pretoria Agreement to the 2009 peace accords – have consistently failed to deliver lasting peace. These initiatives were undermined by structural weaknesses that eroded both their credibility and effectiveness.

A central flaw has been the absence of credible enforcement mechanisms. Most agreements relied on voluntary compliance and lacked robust, impartial monitoring frameworks capable of verifying implementation or deterring violations. Where monitoring mechanisms existed, they were often under-resourced, poorly coordinated, or perceived as biased. The international community’s inconsistent attention and limited political will to exert sustained pressure further undermined these efforts. In the absence of meaningful accountability, armed groups and political elites repeatedly violated agreements without consequence, fuelling a cycle of impunity and renewed violence.

Equally problematic has been the exclusionary nature of the peace processes. Negotiations were often dominated by political and military elites, sidelining civil society, grassroots communities, and particularly women – actors essential for building sustainable peace. Without broad-based participation, the accords failed to reflect the realities on the ground or earn the trust of local populations.

Moreover, these efforts largely ignored the root causes of the conflict, such as land disputes, ethnic marginalisation, governance failures and competition over natural resources. By prioritising short-term ceasefires and elite power-sharing arrangements, mediators overlooked the deeper structural issues that drive instability.

DDR programs – vital to breaking the conflict cycle – have also been inadequately designed and poorly executed. Many former combatants were left without viable livelihoods, creating fertile ground for re-recruitment into armed groups and further violence.

Crucially, these flaws were compounded by a lack of political will within the Congolese government. Successive administrations have, at times, instrumentalised peace talks to consolidate power rather than to advance genuine reform, undermining implementation and eroding public confidence.

More recent efforts, such as the Luanda and Nairobi processes, aimed to revive political dialogue and de-escalate tensions. However, they too have struggled to gain legitimacy. Critics argue that both initiatives were top-down, narrowly political and failed to include the voices of those most affected by the conflict. Civil society actors and marginalised communities perceived these dialogues as superficial and disconnected from local realities.

These processes also fell short in addressing the underlying drivers of violence – displacement, land ownership disputes, poor governance and the reintegration of ex-combatants. Without credible mechanisms for local participation or structural reform, the Luanda and Nairobi processes came to be seen more as diplomatic performances than genuine pathways to peace.

Taken together, these recurring shortcomings explain why international mediation efforts in DRC have largely failed. For any new initiative – including those led by Qatar and the United States – to succeed, it must move beyond these limitations and embrace a more inclusive, accountable and locally rooted approach.

The latest round of international facilitation – led by the United States and Qatar, alongside African-led efforts by the East African Community (EAC) and the Southern African Development Community (SADC) under Togolese President Faure Gnassingbe – offers renewed potential for meaningful progress. However, success will depend on whether these efforts can overcome the systemic failures that have plagued previous mediation attempts.

To chart a more effective and durable path to peace, Qatari and American engagement should be guided by three core principles drawn from past experience:

First, prioritise inclusive participation. Previous peace processes were largely elite-driven, involving governments and armed groups while excluding civil society, women and affected communities. This lack of inclusivity weakened legitimacy and failed to address the grievances of those most impacted by violence. A credible mediation process must include these actors to build a broad-based coalition for peace and ensure that negotiated outcomes reflect the lived realities of eastern DRC communities.

Second, address the root causes of the conflict – not just its symptoms. Earlier efforts focused narrowly on ceasefires and power-sharing, without tackling the structural drivers of instability. Effective mediation must engage with unresolved land disputes, ethnic marginalization, governance failures and the socioeconomic reintegration of former combatants. Without addressing these underlying issues, any agreement will be fragile and short-lived.

Third, establish credible enforcement and accountability mechanisms. One of the most persistent weaknesses of past agreements has been the absence of strong implementation tools. Agreements often lacked independent monitoring bodies, clear benchmarks and consequences for violations. The international community, including Qatar and the United States, must commit to sustained diplomatic pressure and support mechanisms that can ensure compliance and respond decisively to breaches. Without this, the risk of relapse into violence remains high.

By adopting these principles, current mediation efforts stand a greater chance of breaking the cycle of failed peace initiatives and laying the groundwork for a more just and lasting resolution in eastern DRC.

The crisis has once again reached a critical juncture. The involvement of new actors such as Qatar and the United States, working alongside African regional mechanisms, presents a rare opportunity to reset the approach to peacebuilding. By learning from past failures and committing to an inclusive, root cause oriented, and enforceable mediation framework, these efforts can move beyond temporary fixes and lay the foundation for a durable peace – one that finally addresses the aspirations and grievances of the Congolese people.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

The College Football Playoff will go to a more straightforward way of filling the bracket next season, placing teams strictly on where they are ranked instead of moving pieces around to reward conference champions.

Ten conference commissioners and Notre Dame’s athletic director came to the unanimous agreement they needed Thursday to shift the model that drew complaints last season.

The new format was widely expected after last season’s jumbled bracket gave byes to Big 12 champion Arizona State and Mountain West champion Boise State, even though those teams were ranked ninth and 12th by the playoff selection committee.

That system made the rankings and the seedings in the tournament two different things and resulted in some matchups — for instance, the quarterfinal between top-ranked Oregon and eventual national champion Ohio State — that came earlier than they otherwise might have.

“After evaluating the first year of the 12-team Playoff, the CFP Management Committee felt it was in the best interest of the game to make this adjustment,” said Rich Clark, executive director of the CFP.

The five highest-ranked champions will still be guaranteed spots in the playoff, meaning it’s possible there could be a repeat of last season, when CFP No. 16 Clemson was seeded 12th in the bracket after winning the Atlantic Coast Conference.

Southeastern Conference commissioner Greg Sankey was among those who pushed for the change in the second year of the agreement, though he remained cautious about it being approved because of the unanimous vote needed.

Smaller conferences had a chance to use the seeding issue as leverage for the next set of negotiations, which will come after this season and could include an expansion to 14 teams and more guaranteed bids for certain leagues. The SEC and Big Ten will have the biggest say in those decisions.

As it stands, this will be the third different playoff system for college football in the span of three years. For the 10 years leading into last season’s inaugural 12-team playoff, the CFP was a four-team affair.

The news was first reported by ESPN, which last year signed a six-year, $7.8 billion deal to televise the expanded playoff.

Pells writes for the Associated Press.

‘Numbers don’t lie,’ but certainly deceive in India. Behind every celebration of prosperity is a harsher reality of exclusion, injustice, and hunger. This isn’t simply economic inequality; it’s a catastrophe masquerading as progress. India’s economic narrative, which is frequently portrayed as one of “unstoppable growth” and technological dominance, begins to crack under scrutiny. Official numbers put India’s per capita income at roughly $2,800. But this figure, like the country’s projected image of a growing power, is misleading. When billionaires like Mukesh Ambani and Gautam Adani are excluded from the equation, the income level scarcely changes. However, excluding the top 1% and top 5% from the formula reduces the value to $1,730 and $1,130, respectively, which is lower than in some sub-Saharan African nations. What seems to be a statistical recalibration uncovers a more terrible truth: India’s progress is not merely unequal but fundamentally discriminatory.

This distortion is not an accounting oddity. It is an outcome of an economic approach that prioritizes accumulation over distribution. The sparkling pictures of India’s space missions, unicorn business enterprises, and diplomatic gatherings mask a harsher ground reality in which over 800 million Indians rely on free food rations for their survival. This is not a minor statistic; it is the distinguishing characteristic of India’s development trajectory.

The Illusion of Aggregate Growth

The illusion of aggregate growth has persisted in part because it serves a political function. Modern economic theory cautions against using averages in isolation. As Amartya Sen, a notable Indian economist, correctly cautioned, “Averages are often misleading when inequality is rampant.” This warning has been ignored in India’s policy settings, where GDP development has been used as a symbol of national pride, covering the erosion of basic human rights. This conflict between growing GDP and rising hunger demonstrates the decoupling of national wealth from human well-being, which John Rawls’ theory of justice as fairness would characterize as a failure of social institutions. Growth cannot be considered just if it fails to improve the lives of the poor citizens. In India, the increase is clearly benefiting the elites; the top 1% currently owns more than 40% of the country’s wealth. In any just society, such a concentration of resources would raise alarms. In India, it is hailed as a symbol of national achievement.

India’s K-Shaped Recovery and the “Trickle-Down” Myth

The COVID-19 epidemic indicated this structural disparity further, resulting in what economists refer to as a “K-shaped recovery.” The rich elite saw their fortunes increase dramatically, while low-income workers, daily wage laborers, and rural people saw widespread unemployment and pay collapse. With over 90% of India’s workers laboring in the informal sector, this was far from a small crisis; it was economic collapse camouflaged as resilience. Nonetheless, officials adhered to the flawed concept of trickle-down economics, providing corporate bailouts and tax breaks while ignoring health, education, and rural livelihoods. The Nobel Prize-winning economist Joseph Stiglitz has frequently warned that “trickle-down economics is a myth.” Inequality does not accelerate growth; rather, it slows it down. However, India continues to promote the wealthy through tax breaks, corporate bailouts, and lax laws, while insufficiently funding public health and education.

The Global Image vs. Domestic Realities

This internal difference is in sharp contrast to India’s self-proclaimed global reputation. In diplomatic circles, India is portrayed as a counterbalance to China, a technology powerhouse, and a rising climate leader. However, this is only a façade. Behind the glamour of moon landings and semiconductor ambitions is a country that houses about 33% of the world’s hungry children, according to UNICEF. These are not the features of a rising power. They are signs of a troubled society, not because of its objectives, but because of how it pursues them.

The gap between perception and reality is not novel. Partha Chatterjee, a political theorist, notably articulated the “politics of the governed,” in which the impoverished are regulated by governmental paternalism rather than empowered through structural transformation. The Indian state continues to create a narrative of modernity and strength for external consumption while depending on ration cards and token welfare measures to keep the populace calm. The elite are exalted, while the others are just administered.

A Colonial Continuity of Economic Extraction

India’s wealth inequality at present follows colonial extractive patterns. Dadabhai Naoroji’s “Drain Theory,” which stated that British colonization took India’s wealth without proper reinvestment, has eerie parallels in the present. Now, the corporate-financial elite, centered in metropolitan hubs such as Mumbai, Bangalore, and Delhi, act as internal colonists, enriching themselves while abusing workers and ignoring fundamental public services. India’s federal economic model exacerbates this split, as income remains concentrated in a few affluent states while significant portions of the country — from Bihar to Jharkhand — suffer from poverty, resulting in widespread internal migration and deepening social fragmentation.

Food Insecurity as a Political Choice

Food insecurity is at the root of this catastrophe, caused by policy failure rather than scarcity. India is a major producer of rice, wheat, and pulses internationally. Nonetheless, hunger endures on a massive scale. The Public Distribution System (PDS), while seemingly extensive on paper, is rife with corruption, exclusion mistakes, and inefficiencies. Access to food is still determined by social class, gender, and land ownership. In this perspective, hunger is not a natural calamity but a political decision. It is the unavoidable result of a system that refuses to transfer resources, defend the disadvantaged, or abolish entrenched privilege.

India’s fixation with GDP growth has evolved into an instrument of denial, a statistical mask worn by an elite class unable to confront the hardship that most Indians face on a daily basis. The World Bank may record billions of dollars in economic activity, but it does not include the girl child in rural Rajasthan who drops out of school owing to starvation or the farmer in Vidarbha who is driven to suicide by debt. India’s economic miracle, as frequently represented in Western media and diplomatic circles, is based on the purposeful marginalization of these people. Instead of correcting the failing paradigm, the Indian state has militarized it. Growth numbers are displayed at global conferences, while dissident voices—academics, journalists, and civil society—are repressed or labeled as “anti-national.” Instead of fixing the system, the state is cleaning up the truth. This is not development. This is deceit.

Conclusion

India’s economic model, lauded by its political elites and promoted to the world as the triumphant tale of the Global South, is in desperate need of scrutiny. India’s global image as a growing power is based on ethically and economically unsound assumptions. The sparkle of global conferences and billionaire meetings obscures a sobering reality: a country where the prosperity of a few masks the suffering of many. Real power comes from justice, equality, and dignity, not GDP stats or orbiting satellites. And unless India decides to raise its poor rather than just projecting its affluent, the mirage of prosperity will remain just that: a delusion.

Natalia Bryant, the eldest daughter of late Los Angeles Lakers star Kobe Bryant, got an A-list round of applause online after she graduated Friday with honors from USC’s School of Cinematic Arts.

“Congratulations!! World is yours!!” actor Michael B. Jordan wrote on Natalia’s Instagram post while “Euphoria” actor Storm Reid shouted out, “gorg nani! proud of you.”

Jennifer Garner left hearts and clapping hands on the model’s post while Tina Knowles, Beyoncé’s mom, wrote, “Congratulations you make us all proud.”

“Gooo Nani Boo! So incredibly proud of you!!” singer Ciara wrote, ending her comment with a series of red hearts.

“Brava,” declared filmmaker Ava DuVernay. Eudoxie Bridges, the model and philanthropist who’s married to Ludacris, said, “Congratulations, beautiful.”

Writer-podcaster Jay Shetty, U.S. Olympic gymnast Nastia Liukin, reality star Kyle Richards, model Lily Aldridge and actor Lily Collins all offered kudos, with American fashion designer Solange Franklin Reed saying she was “so proud” of Bryant.

“Omgg! It IS YOUUU! Congrats my beautiful babyy!” Kimora Lee Simmons gushed. “My smart intelligent beautiful girl,” La La Anthony wrote.

“We’re so proud of you @nataliabryant!” proud mama Vanessa Bryant wrote in her caption of a photo of Natalia Bryant sitting by a fountain on the USC campus.

The 22-year-old attended the university’s main graduation ceremony Thursday night at the Los Angeles Memorial Coliseum, according to pictures on her mom’s Instagram. Friday afternoon she collected her diploma when she walked in the film school’s graduation.

Her diploma was presented by Jeanie Buss, daughter of late Lakers owner Jerry Buss, who drafted Kobe Bryant straight out of high school when he was only 17.

For the Friday ceremony, Natalia Bryant wore a cream-colored, long-sleeve, high-neck minidress set off by a custom cardinal-and-gold stole, which featured her father’s sheath logo and acknowledged her cum laude status and membership in the Kappa Kappa Gamma sorority. On the back of the neck, “Thank You Mom & Dad” was embroidered on the stole.

Natalia Bryant was only 17 years old when her dad Kobe, 41, and sister Gianna,13, died on a foggy Sunday in January 2020 as the helicopter they were riding in crashed into a Calabasas hillside. Sister Bianka was 3 years old and sister Capri was 7 months old.

On May 12, the United States and China announced that they are putting reciprocal tariffs on pause for 90 days. Some tariffs will be retained while trade negotiations continue, a joint statement said.

This is yet another reversal of the sweeping tariffs US President Donald Trump imposed in early April that destabilised the global economy and sent stock markets into freefall.

Although he claimed that his measures would make the US economy “boom”, it was clear from the start that they would not work. A trade war cannot improve the lot of American workers, nor bring back manufacturing into the country.

Now spooked by corporations slashing profit targets and reports of the US gross domestic product (GDP) shrinking, the Trump administration appears to be walking back on its strategy. But going back to economic liberalism under the guise of “stability” is not the right course of action.

The current global economic system, distorted by policies favouring the rich sustained over decades, has proven itself to be unsustainable. That is why we need a new world economic order that promotes inclusive and sustainable development across both the Global North and South and addresses global socioeconomic challenges.

The crisis of liberal globalisation

The troubles that economies around the world currently face are the result of policies the elites of the Global North imposed over the past 80 years.

In its original Keynesian vision, the economic order put forward by the Allied Powers after World War II aimed to combine trade, labour, and development best practices to foster inclusive growth. However, over the following few decades, corporate opposition in the US and Britain derailed this order, replacing it with a skewed system centred around the Global North’s chief economic instruments, the World Bank and the International Monetary Fund, both created in 1944.

In the 1970s, economic elites blamed rising inflation and stagnation not on temporary shocks like the oil crisis but on what they saw as excessive concessions to organised labour: government overspending, strong unions, and heavy regulation. Subsequently, they launched an institutional counter-revolution against the Keynesian model of power sharing and social compromise.

This counter-revolution took shape in the 1980s under US President Ronald Reagan and UK Prime Minister Margaret Thatcher, who aggressively pursued policies to restore corporate profitability. They slashed taxes on the wealthy, liberalised international capital flows that made it easier to relocate production to low-cost economies, deregulated the financial sector, weakened labour unions, and privatised public services. As a result, outsourcing of labour, tax evasion, real estate speculation, financialisation, and credit-fuelled bubbles became US corporations’ dominant ways of making profit.

In developing countries, the IMF, the World Bank and regional development banks pushed governments to cut public spending, privatise state-owned enterprises, remove trade barriers, and deregulate markets rapidly and with little regard for social consequences.

As a result, the 1980s and 90s became lost decades for many countries embracing globalisation through radical liberalisation. These policies triggered massive employment shocks, rising inequalities, skyrocketing debt and persistent financial turbulence from Mexico to Russia.

East Asian economies were the exceptions, as they learned to circumvent the straitjacket of liberal globalisation and joined the global economy on their own terms.

The biggest beneficiaries of this system were Western economic elites, as corporations profited from low-cost production abroad and domestic deregulation at home. The same cannot be said for Western workers, who faced stagnating real wages, eroded labour protections, and increasing economic insecurity under the pressure of competitiveness, relocation, and automation.

Illiberal economic policy is doomed to fail

For those of us who studied the post-war economic order, it was apparent that without correcting the pitfalls of liberal globalism, a nationalist, illiberal counter-revolution was coming. We saw its signs early on in Europe, where illiberal populists rose to prominence, gaining a foothold first in the periphery and then gradually scaling up to become Europe’s most disruptive force.

In the countries where they gained power, they pursued policies superficially resembling developmentalism. Yet, instead of achieving genuine structural transformation, they fostered oligarchies dominated by politically connected elites. Instead of development, they delivered rent-seeking and resource extraction without boosting productivity or innovation.

Trump’s economic policies follow a similar path of economic populism and nationalistic rhetoric. Just like illiberal economic policies failed in Europe, his tariffs were never going to magically reindustrialise the US or end working-class suffering.

If anything, tariffs – or now the threat of imposing them – will accelerate China’s competitive edge by pushing it to deepen domestic supply chains, foster regional cooperation, and reduce reliance on Western markets. In the US, the illiberal response will drag labour standards down, eroding real wages through inflation and propping up elites with artificial protections.

Furthermore, Trump has no real industrial policy, which renders his reactive trade measures completely ineffective. A genuine industrial policy would coordinate public investment, support targeted sectors, enforce labour standards, and channel technological change towards good jobs.

His predecessor, President Joe Biden, laid the foundations of such an industrial policy agenda in the Inflation Reduction and CHIPS acts. However, these programmes are now under attack from the Trump administration, and their remaining vestiges will not have a meaningful effect.

Without these pillars, workers are left exposed to economic shocks and excluded from the gains of growth, while the rhetoric of reindustrialisation becomes little more than a political performance.

The way forward

While Trump’s economic policies are unlikely to work, returning to economic liberalism will not resolve socioeconomic grievances either. Let us remember that past efforts to maintain this deeply flawed system at any cost backfired.

Following the 2008 global financial crisis, Western governments rescued big banks and allowed financial markets to return to business as usual. Meaningful reforms of the global economic architecture never materialised. Meanwhile, the living standards of working- and middle-class families from Germany to the US stagnated or declined as wages flatlined, housing prices soared, and economic insecurity deepened.

We cannot return to this dysfunction again. We need a new global economic order focused on multilateral governance, ecological sustainability, and human-centric development. Such progressive global multilateralism would mean governments coordinating not only on taxing multinational corporations and curbing tax havens but also on regulating capital flows, setting minimum labour and environmental standards, sharing green technologies, and jointly financing global public goods.

In this new economic order, the institutions of global economic governance would make space for developing and emerging countries to implement industrial policies and build stronger ties with public finance bodies to mobilise patient, sustainable capital. This cooperative approach would offer a practical alternative to liberal globalism by promoting accountable public investment and development-focused financial collaboration.

Parallel to the eco-social developmentalism in emerging economies, wealthy nations need to embrace a post-growth model gradually. This strategy prioritises wellbeing, ecological stability, and social equity over endless GDP expansion.

This means investing in care work, green infrastructure, and public services rather than chasing short-term profits or extractive growth. For mature economies, the goal should be shifting from growing more to distributing better and living within planetary limits. This would also allow more space for low- and middle-income countries to improve their living standards without overexploiting our limited shared natural resources.

With stronger cooperation between national and multilateral public finance institutions and better tools to tax and regulate corporations, governments could regain the capacity to create stable, well-paying jobs, strengthen organised labour, and tackle inequalities. This is the only way for American workers to regain the quality of life they aspire to.

Such progressive multilateralism would be a powerful long-term antidote against illiberal populism. Achieving this shift, however, requires building robust global and regional political coalitions to challenge entrenched corporate interests and counterbalance the existing liberal, capital-driven global framework.

The challenge is clear: not only to critique Trump’s destructive policies but to present a bold, coherent vision of industrial renewal, ecological sustainability, and global justice. The coming months will show whether anyone is prepared to lead that transformation.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

There are very few recorded interviews with Dame Agatha Christie, the world’s bestselling novelist and generally acknowledged doyenne of crime, for one simple reason: She hated speaking in public.

She often described herself as cripplingly shy — she agonized for days when a celebration for the 10th anniversary of her play “The Mousetrap” required her to give a speech — and she remained morbidly press-adverse after the media swarm that followed her famous 11-day disappearance. (Though in defense of the press, what could one expect when a notable crime writer goes missing for almost two weeks in the midst of a shattering divorce and then, when found, refuses to explain what had happened?)

In her autobiography, and through her literary avatar Ariadne Oliver, Christie often described taking great pains to avoid speaking in front of people and she (and Mrs. Oliver) particularly hated being asked questions about her writing. “I never know what to say,” Mrs. Oliver would wail, echoing sentiments expressed by Christie herself.

So when BBC Maestro announced, at the end of April, that it was launching a digital class in which an AI-resurrected Christie would offer lessons in writing, it was difficult not to be outraged. Never mind the whole “I see dead people”-ness of it all; here was a woman who was on record, multiple times and often at great length, about how much she loathed having to talk about how she did what she did in front of a bunch of people.

The creators of the series clearly anticipated such outrage. The prologue to the course features BBC Maestro Chief Executive Michael Levine and Christie’s great-grandson James Prichard, chairman and CEO of Agatha Christie Ltd., explaining the care put into the series. The script, we are assured, is rigorously based on Christie’s own words; the actor (Vivien Keene) was chosen after a year-and-a-half search; and the set (a library that houses a model of Christie’s own typewriter), the costume (a tweed suit accented by pearls, a brooch and duplicates of Christie’s engagement and wedding rings) and the hair are models of authenticity.

More important, the course has the family’s full support. “At the heart of this project was my father who knew Agatha Christie better than any person living,” Prichard says. “At times he was astounded by how similar to his grandmother this version was. And my view,” he adds with a mildly challenging air, “is that if he can enjoy this project, we can all enjoy it.”

Agatha Christie autographing French editions of her books, circa 1950.

(Hulton Archive / Getty Images)

Challenge accepted.

Keeping in mind Christie’s fascination with disguise and advanced technology, as well as a passage in her autobiography in which she wishes a friend with more confidence could step in as a substitute during author interviews, I put my fears aside and ponied up $89 for the two-and-a-half-hour class.

Which is so respectful I found myself, at more than a few points in the 12 sections, wanting to scream.

We meet Keene’s Christie behind a desk, and there she stays, smiling and nodding as she walks us through her thoughts on her craft (including, in the introduction, her aversion to offering them).

Christie’s autobiography is a doorstop. Thoughts about writing, her characters and her career run through it, but they rarely take up more than two consecutive pages. Christie historian Mark Aldridge has done a remarkable job of mining it, as well as other writings, to create a genuine tutorial with an admirable script.

Yes, Christie offers the typical anodyne advice — write what you know and the type of book you enjoy reading — but she also gets very granular. A murder mystery is best at 50,000 words, the murderer and important clues must be introduced very early on, settings should be described thoroughly but economically (“sometimes a map works best”) and one must never give into an editor who spells cocoa as “coco.”

In portions that include “characters,” “plots,” “settings” and “clues,” Christie assesses some of her work. She came to think that her first book, “The Mysterious Affair at Styles,” was over-stuffed with plot, but remained irritated by those who claimed that the twist in “The Murder of Roger Ackroyd” was a cheat. She wished she had introduced Hercule Poirot as a younger man, and was very happy to ditch Hastings for a while.

She discusses the importance of observation in everyday life, describing, among other things, how an encounter in front of a shop window led to one of her Parker Pyne stories, as well as the usefulness of isolated settings (“snow can also weigh down telephone wires”) and second (or third) murders.

In the opening minutes, it’s kind of neat to see what looks very much like a midlife Christie, smiling and talking in her very British way (the voice is not precise but close enough).

Still, there is no getting away from the fact that this is a two-and-a-half-hour lecture, delivered by a woman sitting behind a desk who, with the exception of a very few hand gestures, never moves. The camera moves, shooting her from this angle and that, and occasionally roving over various covers of Christie’s books. But Christie’s body remains as still as the late Queen Elizabeth II delivering her Christmas address.

I began to feel quite concerned for Keene — just how long were these takes? She delivers a vocally expressive performance and gives the digitally recreated face the necessary intelligence, wit and kindliness. The face itself looked fine — a bit glowy at times and immobile around the eyes — but its novelty quickly wore off. I would have happily traded what is essentially a parlor trick for a Christie who would get up and walk around a bit. Have a cup of tea, flip through a notebook.

Actor Vivien Keene’s voice and face were altered to create Agatha Christie’s likeness.

(BBC Maestro)

I realize that it is a course, and one I did not have to go through in one sitting. But as the first hour slid into the second, I found myself longing for someone, Aldridge perhaps, to mine Christie’s exquisite autobiography more broadly and create an entire one-woman play. An evening with Agatha, free of AI, in which Christie could reminisce about her extraordinary life, from her glorious Victorian childhood to her later years as an archaeologist.

Though known as the creator of the manor-house murder story, Christie was, as her books indicate, a voracious world traveler, learning how to surf before surfing was a thing, and dealing with adventures and misadventures (including a 14-hour honeymoon trek by camel and a hideous case of bed bugs on the Orient Express) that would give even the most intrepid travel influencer pause.

She lived through two world wars, experienced wildly unexpected success and deep personal loss. She endured a heartbreaking divorce and a nervous breakdown, while raising a daughter and writing books, only to rally again and find love again in the most unexpected place.

She wasn’t a saint — her work occasionally includes the racist, antisemitic and classist tropes of its time — but she avowed fascism as often as her more political contemporaries and believed, as she says in the course, that she lived in contract with her readers for whom she had the utmost respect.

She was a celebrity who never behaved as a celebrity, an artist who never admitted to art (and wrote her books on any steady surface, including orange crates and washstands), a novelist like no other who also wrote the longest-running play in history and whose work continues to sell while being adapted in film and television. Her contribution to the culture is literally incalculable.

So surely she deserves more than a course that makes news mainly because of its use of dreaded AI. She’s Agatha-freaking-Christie. Give her a movie, a miniseries, a play. Give her an actor who worries less about the face and more about the words, and the life that inspired them.