moment

O’Leary has seen hundreds of players come and go, whether as team-mates or members of squads he has coached.

There has always been a desire, he says, to ensure those who have arrived understand what the place is about.

“Even as a player, I hated it if someone who came in had something negative to say about the club, the city, the people, anything,” O’Leary explains.

“I take it really personally. So I do all I can to make sure people who come here have the best possible experience at Swansea City, like I’ve had, and that they see it how I see it.”

O’Leary first watched Swansea play against Manchester United in 1986, a friendly game which was played to raise money for the cash-strapped Welsh side.

It was his first experience – but certainly not the last – of a crisis at the club.

By his early teens O’Leary was involved in the Swans’ youth set-up, and by 1995-96 he was knocking on the door of the first team.

That was a season in which Swansea had no fewer than four managers – including the unknown Kevin Cullis, who lasted a week – and suffered relegation to what is now League Two.

Jan Molby was in charge for the back-end of the campaign, and it was the former Liverpool star who gave O’Leary his debut, in a 5-1 defeat at Bradford City in March 1996.

While all Swansea’s senior pros were in tracksuits, O’Leary and another youth prospect, Damien Lacey, travelled to the game in “trousers and a polo shirt” because in those days, there was no kit dished out to youngsters.

Villa’s wretched 2-1 home defeat by Tottenham on Sunday – a third consecutive loss – did not give them the ideal platform, even if Emery made eight changes.

It underlined the lack of depth within the squad, with Emi Martinez, Matty Cash, Youri Tielemans and Morgan Rogers viewed as the only first-choice starters in Sunday’s XI.

Emery, though, has earned admiration from at least two fellow Premier League managers who have been privately impressed with the decisions he made – a clear focus on his biggest game at the club – and how he stuck to the strategy.

He has won the Europa League a record four times – three times with Sevilla and once with Villarreal – and with minds focused those close to Emery expect to see a different performance to Sunday’s surrender.

“We are improving, including myself, and we will have more challenges to set for the present or future,” said Emery, when asked if this is the last chance for this squad to win something.

“I don’t think tomorrow is the last opportunity for us or anyone. The players are enjoying the process we are doing and they are aware about how difficult football is, and this is the greatest moment we are having in the last three years.

“It will break nothing about how we are thinking and trying to improve.”

Even if Emery believes they can push for honours beyond this season and with Champions League football – Villa should finish in the Premier League’s top five regardless of their European fate – changes are expected.

The squad needs to be refreshed and selling players is the easiest way to comply with regulations – with England forward Morgan Rogers their biggest asset.

There is a realisation a significant number need to be recycled and Emery has been aware since the opening month of the season what needs to be done.

He and president of football operations Roberto Olabe are aligned, but Olabe was brought in to help progress Villa further, more medium and longer term.

Going forward there will be more focus on younger players, and filling the necessary first-team gaps with more senior signings, but Emery, the same as any manager, wants players who are ready now.

The pair are close – Emery handpicked Olabe to replace Monchi in September – so a common ground is found and the duo spend hours talking about tactics and philosophies, conversations which usually start in the club’s canteen at Bodymoor Heath.

Yet the desire for new players to take Villa to the next level is the hardest task.

This story includes spoilers for Episode 8 of “Daredevil: Born Again” Season 2.

By the end of “Daredevil: Born Again’s” first season, showrunner Dario Scardapane knew they were heading toward Matt Murdock’s big reveal in Season 2.

The second season finale of the Marvel series, out now on Disney+, sees Murdock (played by Charlie Cox) declare to the world that he’s the vigilante Daredevil.

“Coming in with Season 1, I wish I could say I knew exactly where we were going,” says Scardapane during a recent video call. “But I knew that moment in the courtroom where Daredevil outs himself, we were definitely heading towards that.”

Iain B. MacDonald, who directed Episodes 7 and 8, said that everybody involved understood that it “was going to be a super significant moment” while they were filming the scene.

“When that’s out, that’s out,” MacDonald says. “That moment clearly has a domino effect for the rest of the episode. … I’m super excited to just to see how that’s received by the fans … because as a director, you want to deal with big moments in what you direct, and that is, for me, one of them.”

A continuation of Netflix’s “Daredevil,” which initially concluded in 2018, “Born Again” has followed Wilson Fisk’s (Vincent D’Onofrio) rise from criminal kingpin to the supposedly reformed mayor of New York. Fisk’s authoritarian tactics and campaign targeting vigilantes pushes Daredevil underground to try to assemble allies in order to bring the Kingpin down.

Matt Murdock (Charlie Cox) returned to the courtroom to make his case.

(JoJo Whilden / Marvel)

Their much anticipated showdown occurs in a courtroom in the season finale during the trial of Karen Page (Deborah Ann Woll).

“Myself and my DP [director of photography], Jeffrey Waldron, looked at a lot of courtroom dramas, just to really think about how we can tell those courtroom stories really well, and do it creatively and imaginatively … and in the language of ‘Daredevil,’ ” said MacDonald. “It was a challenge, for sure, [but] I really, really enjoyed shooting them.”

While Murdock may have triumphed in the courtroom, his revelation has consequences as teased in the episode. Scardapane says those consequences will be explored in Season 3.

“That last scene in Season 2 tells you where we’re going,” says Scardapane. “If the question is, are we doing a specific comic book run that is beloved by all, including me, I think that it’s pretty obvious what we’re doing in that last scene.”

The fallout for Murdock, as seen in the episode, is his arrest and imprisonment. In the final moments of the finale, the Man Without Fear is shown getting locked up at Rikers Island. Murdock appears to have accepted his fate, but a glimmer of smile hints that this is not the end of his story.

“Charlie and I talked about [the scene], and we knew that we wanted to end on that close-up of his face,” MacDonald says. “He said we can do two things here, one which is like acceptance of circumstances, like he’s resigned. He has made the sacrifice of outing himself to the world about who he really is [and] he has put himself away in service of the greater good … as well as have that little moment of a hint of a smile to say, this is a beginning. This is a new adventure. This is a new challenge.”

In a conversation edited for clarity and length, Scardapane discussed Murdock and Fisk’s arcs in Season 2, “Daredevil: Born Again’s” timely political themes and what to expect in Season 3.

Karen Page (Deborah Ann Woll) and Matt Murdock (Charlie Cox) get a chance to celebrate in the “Daredevil: Born Again” Season 2 finale.

(JoJo Whilden / Marvel)

At what point did you know that what you were building toward in Season 2 would end with Matt Murdock in jail?

It’s kind of a process that snowballs. They had started before me. They were doing the Mayor Fisk run. It was much more procedural, much different tone. They did six episodes, and I came in, and we moved it more in line as a continuation of the Netflix series. When Fisk becomes the mayor of New York, you put the villain at a really, really elevated place. So, Season 1 was the rise of Fisk. Season 2 has got to be the rise of that which takes him down — the resistance.

That moment that Matt stands up in court and says, “I am Daredevil,” that’s like the record scratch. Everything has changed from this moment on. At the end of Season 1, beginning of Season 2, we knew we were heading toward that moment. That moment’s consequences, for Matt and for Fisk, are kind of the fodder for Season 3.

There are comic book runs that I shall not name — although they’ve been named — that take that dilemma that Matt put himself in and go to really great places with it. Coming in with Season 1, I wish I could say I knew exactly where we were going. But I knew at the very beginning, that moment in the courtroom where Daredevil outs himself, we were definitely heading toward that.

It felt significant that Matt and Fisk’s big showdown this season happened in a courtroom.

The fun of Daredevil since the comics started is here you have a lawyer who really believes in the justice system who goes out and breaks bones at night. He’s a vigilante lawyer. That’s such a dichotomy. When the villain takes power, when the villain is the police — this situation, the villain is the Anti-Vigilante Task Force — the villain has now become the power structure of New York and has become the justice system. How does Matt fight back? He fights back as a vigilante until it gets to a crucial moment where Karen is pulled into this flawed justice system. Now there’s nowhere he could go. He’s put in this place where both his personas have to integrate, have to kind of collide, for him to beat Fisk. I think that Charlie’s performance in that courtroom scene is his best courtroom performance in any episode of “Daredevil” ever. Building to that moment of Fisk and Matt facing off in court, it was pretty important because all four of them are in court there: Wilson Fisk, Kingpin, Matt Murdock and Daredevil are all there in that scene.

Wilson Fisk’s (Vincent D’Onofrio) ambitions are thwarted in “Daredevil: Born Again” Season 2.

(JoJo Whilden / Marvel)

Fisk, the villain, ultimately loses this battle. Can you speak a bit about his arc this season?

One of the joys of this job is working with Vincent D’Onofrio, full stop. He’s done such a good job of humanizing a monster. I don’t write Fisk as a villain. I don’t think Vincent plays him as a villain. And that’s where the fun comes in.

Building up a man whose appetite, whose isolation, whose just general hunger to dominate, making that character and then giving him this one lifeline to humanity in Vanessa — that’s all calculated. We knew in Season 1 when Foggy was killed that Vanessa was going to be the cost for Fisk. The idea that Vanessa set up Foggy to die using Bullseye, and Bullseye ended up inadvertently killing Vanessa, that was 100% in the DNA from jump. Vanessa passed away in the comic books in two different ways, but that takes Fisk now into a place where, for me, all bets are off. I think that the Fisk that Vincent is playing in Episode 6, 7 and 8 and beyond are a different animal entirely. We just finished a very special episode that is pretty much all Fisk in this new incarnation and it was pretty exciting. Vincent’s in rare form in Season 3.

I understand that the Anti-Vigilante Task Force stuff was shot before the the story and imagery became extremely timely.

It’s really strange because there’s footage in the finale that’s intentionally supposed to reflect certain events. One of the things that I really wanted to do with this story, when you’re dealing with politics and everything, is we’re living in a time where these values of mutual respect, mutual listening, mutual live and let live … what I would say, democratic values are being thrown out the window when you’re dealing with the other side. If somebody doesn’t share your beliefs, it’s free game. And I’ve never really seen a time like that. So we took that story, where the mayor’s side has no quarter for the vigilante side and the vigilante side has no quarter for the mayor’s side. When they storm the rotunda, it looks very familiar. That is intentional. I’m not going to dodge that. Because it’s the idea that everybody sees themselves as a hero of this story, where they’re treating the people on the other side horribly. There’s no lesson there. It’s just the idea that when mobs get involved, when large groups of people get involved, the higher morals and higher sense of humanity falls apart.

You’ve mentioned that in writing and filming this show, you were looking at history. But what was it like when the present started mirroring what you already made based on the past?

The sequence in Episode 2, when the bodega is raided and people are dragged away by the Anti-Vigilante Task Force, that was filmed before Los Angeles, before Minnesota — before all of it. The whole thing got really strange in that the real world started to feel cartoony, and I don’t mean that in a positive way.

I think we were, as writers and directors, tapping into an unease and a malaise that’s just out there. Having it look exactly like things that then happened on the news, that was chilling. It was really hard to get my head around it. It was hard for the people involved, the directors, the fact that some of those sequences in our show, of people being dragged away and thrown into vans, looked exactly like what we were seeing on the news.

There have been other touch points, like the affinity some Task Force officers have for the Punisher logo, that crosses from the fictional into reality.

I’ve been wrestling with this since working on “The Punisher.” The map of what you do when you want to be an autocrat: You form a militia, you empower them beyond, you target a group that you want to make scapegoats, you round them up. When Charles Soule was doing the Mayor Fisk run in the comic books, that’s what he was thinking about. S—, Tony Gilroy did it in “Andor.” When you build any kind of story about an autocrat, it follows the same script. Weirdly, the script’s now playing out outside our door, and that’s become really hard to deal with. The funny thing about this show in these times is, no matter what I say, somebody’s gonna get all like, “Oh, they put politics in our comics” and “they’re trying to teach us a lesson.” Nobody’s trying to teach you a lesson. We’re just laying out a story about a guy who’s a criminal who becomes a mayor and a guy who’s a lawyer who tries to take him down. But does that have echoes in what’s going on outside our window? Yes, it does.

There is a sect of the audience that gets very vocal about the MCU getting ”too woke” or comic books and superheroes ”becoming political.”

One thing that just broke me when we started Season 3, I posted a picture of our writers room, and it’s just some of the best genre writers in the television business. I posted it [on Instagram] and I said “so stoked to get into it with these guys.” The first comment was, “Looks like a pretty woke room. Don’t ruin the show.” How does a room look woke? Oh, so you’re looking at the makeup of the people in that room, and you’re saying that that is something you don’t like? I can’t help you [with that]. I’ve just got to go into that room and write stories.

It’s also not like superhero comic books haven’t had storylines about marginalized communities or interrogating people in power.

Guys, comic books are political. They’ve always been political. The first graphic novel that ever won a Pulitzer Prize was “Maus.”

Jessica Jones (Krysten Ritter) gets in on the action.

(JoJo Whilden / Marvel)

I think I’ve waited long enough to ask about Luke Cage, played by Mike Colter, showing up in the finale. How did all of that come together?

One of the things that I’ve said a bunch about this show is we lean into the idea that these characters have grown up. The time that has passed between the end of the Netflix shows and the beginning of this show, we acknowledge and we lean into. Their lives have matured. As anybody knows, in the comics, Luke and Jessica had a child, Danielle. Now for me, as a writer, that’s just great story. We have a family of two very interesting people who were made iconic by the performances of Krysten Ritter and Mike Colter. What does that little family look like moving forward? So that tease at the end has seeds for acres and acres of stories. There’s a world that I’m super interested in, that a lot of the characters from the Netflix shows live in, that I’d love to see go forward. A lot of that’s out of my hands. But Mike and Jessica and that family are important to these stories.

Can you say anything more about what Luke has been up to since audiences last saw him?

Luke went to do some work for Mr. Charles. That’s a little bit of an Easter egg, a storyline that will play out in the future. Mr. Charles’s interest in alternatively abled people, or people who can do special things, that interest has long tentacles. It touched Luke and Jessica. It touches Bullseye at the end of the season, and that moves forward.

I think everybody’s been curious since Charlie Cox’s return. Matt’s back. Now Jessica and Luke are back. Are we going to see all of the Netflix era heroes assembled?

The best way I can answer that question is that we take comic book runs, fan desires and unfinished business. On “Punisher,” we were planning for a Season 3. I know [“Daredevil” showrunner] Erik Oleson was getting ready to work on a Season 4. That all ended very abruptly. None of the shows really got an ending that brought it all together. I wouldn’t say that “Defenders” was an ending that brought it all together. There’s so much unfinished business in those Netflix shows. We definitely, definitely knew from way back, how the ending of the Mayor Fisk rise and fall, where that was going to go next. And it’s funny because I’m talking to you as we’re trying to end where it goes next, and we’re thinking about, “OK, now what happens after that?”

I’m just going to throw it out there that I’d like to see Misty Knight and Colleen Wing back also.

[Jessica Henwick, who plays] Colleen has already said that she is not in Season 3, and that’s a real sad thing for us. It was not for lack of trying. I want to do Daughters of the Dragon, come on! That was teed up in “The Defenders.”

I wish I could be more forthright, but I have to save some some secrets for Season 3. But I do believe that we set a launching pad at the end of Season 2 that takes us into some pretty fun places that we’re in right now, and I gotta go finish that.

MATT GOSS has revealed how he bravely stood up to muggers who tried to steal his gold Rolex watch.

The former Bros singer sat down with Biz On Sunday’s Emily to speak about the scary incident, which occurred while he was walking his dog Reggie with fiancée Chantal Brown.

Matt, who is back in the studio at London’s famous Abbey Road, said: “We were approached by two people asking for directions.

“We were friendly and tried to help them, but when I pointed the way, they noticed the watch on my wrist.

“One of them immediately became aggressive, trying to distract me by dancing while also grabbing at my wrist.

“I reacted instinctively and, feeling threatened, pushed my head into his before telling him firmly: ‘Don’t you dare’.

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“Chantal and I then went straight into a nearby hotel and called the police.”

Matt, who was born in Lewisham, South East London, where he grew up with twin brother and fellow Bros star Luke Goss, said he would like to see more police on the streets.

He added: “I do feel safe in London overall, but I find it sad that, in such a beautiful city, you can’t always wear something nice without concern.

“I truly wish we still had more bobbies on the beat, with that sense of community, presence and understanding of the local area.”

Matt is back in the UK after spending 25 years in America, where he had a highly successful residency in Las Vegas for 11 years.

His new track, Thank You For The Pain, is out now and will form part of his upcoming album scheduled for September 29.

Matt said: “It’s back to commercial music. I love performing live and I loved the Vegas show and I am super proud of that.

“But there is something about going in the doors at Abbey Road that gives you a sense of occasion and, ‘you better bring your A-game’. It really makes you step up more because of the history.”

He added: “You are going into your church and you are baring all and being extremely truthful. Thank You For The Pain is about turning your pain into something that makes you a better person.

“We have all been hurt by people and that song really helps you recognise what hurts makes you stronger.”

Matt sold 17million records in the Eighties boyband Bros, with the brothers making their big breakthrough in 1988 with Top Ten single When Will I Be Famous?

But after the boyband split up in 1992, the pair went their separate ways until reforming in 2017 to play two dates at London’s O2 Arena.

The lead-up to the comeback was filmed for documentary Bros: After The Screaming Stops, which also showed the ongoing tension between the twins.

Matt revealed in 2024 that they were “completely estranged”.

But he is hopeful that they may manage to sort out their differences and step out on stage together once again.

He said: “I would love nothing more than to jump on stage with my brother again, I’m pretty sure we don’t hate each other but we have stuff to sort out.

“I believe there is respect for each other. I’d love to do Glastonbury with my brother.”

MATT GOSS has given Biz On Sunday readers the first full clip of his new video, Thank You For The Pain. It is Matt’s first animated video and is created by Nobody Asked Studios.

A source said: “Matt is a huge fan of Nobody Asked Studios and the track worked perfectly with the animated style.”

Millie’s book Taylor made

NEWLY single heiress Millie Mackintosh plans to put pen to paper following her recent split from Hugo Taylor.

The ex-Made In Chelsea star is working with publisher Little, Brown Group on a new book.

A source said: “Millie’s been through a lot in the last year and she’s writing it all down.

“Her first book was about her sobriety, but this one will look at motherhood, her ADHD diagnosis and the changes in her personal life, including her split from Hugo.

“Writing is very cathartic for Millie, so it’s also helping her process what’s been going on in her life. She will reveal a lot about the breakdown of her marriage and there will likely be a few surprises.

“Millie really wants to be honest and relatable.”

The book comes after Millie’s first husband, rapper Professor Green, gushed about her recently . . . 

Zara’s Shak for more

ZARA LARSSON and Shakira look summer ready after collaborating on a new song.

The Swedish pop star has remixed her track Eurosummer with the Hips Don’t Lie hitmaker.

It comes as Zara releases remix album Midnight Sun: Girls Trip featuring Pinkpantheress, Tyla and Robyn.

Shakira posted on Instagram: “Happy release day, Zara Larsson. Can’t wait for our video to come out.

“In the meantime, starting my Euro summer from Rio.”

Dean’s back on market

HE is known for being a ladies’ man, but it looks like former EastEnders star Dean Gaffney is single once again.

I can reveal that he has split from Harvard graduate Kate Black after dating for a year.

A source said: “Dean and Kate have agreed to go their separate ways.
“They enjoyed a whirlwind romance, but decided that their relationship was more friendly.

“Kate wasn’t Dean’s usual type, but he learned a lot from her.”

Kate studied international relations at the top US university and artificial intelligence at the University of York.

A mutual pal introduced them and they started dating in April last year, a month after she split from her long-term boyfriend.

Last June, Dean, who played market sweeper Robbie Jackson in the BBC One soap, was spotted on holiday in Ibiza with Kate.

Stones face music for album launch

THE ROLLING STONES have teased the cover for their much-anticipated new album as they prepared for its press launch this week.

A poster appeared on social media yesterday showing Mick Jagger, Keith Richards and Ronnie Wood imagined as one face. The eyecatching design was dreamt up by American painter Nathaniel Mary Quinn.

On Tuesday, the band will hold the press launch of the new record, Foreign Tongues, in New York. Then, on Wednesday, Mick Jagger will appear on The Tonight Show, hosted by Jimmy Fallon.

The US TV star presented a global press conference in 2023 in East London for the band’s last album, Hackney Diamonds.

A countdown clock for the new record, out on July 10, has now appeared outside the group’s merchandise store on London’s Carnaby Street. It also shows the album’s title written in a variety of different languages.

One staff member claimed everyone was sworn to secrecy, adding: “I plead the Fifth Amendment.”

Another said: “They have not told us anything in case it backfires on them.”

And, yet again, the band have also updated their famous tongue logo, originally created by British art student John Pasche in 1970.

Last month, The Stones released a vinyl-only single, Rough & Twisted, under the pseudonym The Cockroaches. Meanwhile, I revealed that PAUL McCARTNEY will also feature on a new album track following his cameo on Hackney Diamonds.

Sounds like this is going to be the album of the year.

FORMER X Factor winner Matt Cardle is set to come face to face with Simon Cowell on live TV again – 16 years after winning the ITV talent show.

I can reveal that Matt is being lined up to perform at one of the Britain’s Got Talent live finals in the coming weeks.

Rather than performing new solo music, Matt will take to the stage as part of a special performance of West End hit Kinky Boots.

He is starring in the musical at the London Coliseum alongside Strictly Come Dancing’s Johannes Radebe.

A source said: “Simon is a huge fan of musicals and the bosses at Britain’s Got Talent are keen to push the arts as much as possible.

“With that in mind, a number of the live acts booked for the finals this year come from West End shows.

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“Matt and the Kinky Boots cast are set to perform in a few weeks’ time – it really will be a full circle moment for him.”

This weekend, former BGT winner Sydnie Christmas will perform her new single – Run.

Bizarre’s Jack hung out on the set of her music video earlier this year, so we can’t wait to see that one live.

Zara‘s feeling f-Lush

Zara Larsson has me counting down the days to my summer holiday after hopping on this float to promote her Main Rose swimwear brand.

She was living her own Lush Life as she soaked up some rays ahead of headlining Radio 1’s Big Weekend in Sunderland next month.

This Friday she will release the deluxe version of her fifth album, Midnight Sun: Girls Trip, packed with collaborations, including Tyla and Shakira.

And it’s testament to Zara trusting herself.

On writing and recording the track, which came out last year, she said: “I stopped focusing so much on what I thought other people would want from me or what I thought radio would want, and just started focusing on what I wanted to do.

“Ironically that’s when people start caring.”

Liam family praise for Louis’s heartfelt concert

Liam Payne’s loved ones made a lowkey trip to his One Direction bandmate Louis Tomlinson’s tour.

Some of Liam’s relatives including sister Nicola were in a VIP box to see Louis perform at Birmingham’s Utilita Arena last weekend.

During the show, Louis was visibly emotional when singing Dark To Light – a track he wrote about Liam’s death.

Taking to Instagram, Nicola said: “Thank you Louis Tomlinson for last night.

“It was extremely emotional, but really beautiful, and it meant a lot to be there.

“Your staging and your songs are beautiful. A truly special night.”

Louis has previously spoken warmly about Liam.

He said: “I could talk all day about how amazing he was.

“We all looked up to him, he was vastly experienced before any of us had done anything.

“If he could just for five minutes live in my head or your head and see how we perceive him, he would be so shocked.

“He was pure.”

The wait for Madonna and Sabrina Carpenter’s collaboration is almost over, as it’s being released this Friday.

The superstars recently performed Bring Your Love at Coachella and now they are putting out the official audio.

The pair made the announcement yesterday when they shared a new photo of themselves with the caption: “We’ve got something to say about it,” which is a reference to Madonna’s 1989 song Express Yourself.

It will be the first official single from the Queen of Pop’s forthcoming album Confessions On A Dancefloor: Part II, after she released a teaser track, I Feel So Free, earlier this month.

Humanize 102 words

Pink girl’s a leg-end

Pink has sold out stadiums and had No1s across the globe, but as far as daughter Willow is concerned she’s top of the charts as an embarrassing mum.

At the opening night of The Lost Boys musical in New York they posed for photots on the red carpet.

But while standing in front of the snappers, Pink gestured at the slit in Willow’s skirt and said, “Show off your legs,” to which the youngster snapped: “No!”

Alan’s tequila stunrise

Alan Carr once fell in the Serpentine in London’s Hyde Park after drinking “hallucinogenic tequila” on his Chatty Man TV show.

The comedian said he was still feeling the effects the next day as he walked his dogs and suffered a mishap.

He explained he’d had a tequila the night before but was given a hallucinogenic one by mistake.

He added: “I couldn’t sober up and I fell in the Serpentine, p***ed.

“My old dog Bev, bless her, she dropped the ball in the Serpentine and I went forward to pick it up. And I think all the tequila rushed to the front of my head and I just fell in.”

Speaking on his Life’s A Beach podcast, he added: “In films, the dogs are meant to jump in and save you, but they were just wagging their tails, like, ‘What’s this p***head done again?’

“So I was just soaking wet and I had to walk . . . You know, when people are pulling their kids away, ‘Come away from the strange man,’ and all that.”

Capital’s Summertime Ball is returning to London, taking over Wembley Stadium to entertain 80,000 fans on June 6.

The line-up will be revealed by Jordan North, Chris Stark and Sian Welby on Capital Breakfast this morning and tomorrow, before tickets go on sale through the Global Player app at 9am on Thursday.

Gracie has secret follow-up

Gracie Abrams is back, two years after her album The Secret Of Us topped the charts.

The American singer released a teaser on Instagram yesterday, and it appears to be a snippet from the lead single for her upcoming third album.

The record is rumoured to be all about falling for Normal People actor Paul Mescal, although it doesn’t sound like it’s been smooth sailing.

They were reported to have briefly split in early 2025, and the song will do little to shut down that speculation.

Gracie sings: “I used to see clearly but it’s bloodshot. And I want you so badly but I closed off.

“I used to think we’d get married. But I guess not.”

Last summer we revealed Paul was at Gracie’s Glastonbury set, singing along to every word.

In February, they made their red-carpet debut at the Baftas in London.

And last month I told how Gracie had moved from LA into Paul’s London home, while he films the upcoming Beatles biopics.

Her last album was all about heartbreak, but I’m expecting some sunnier moments this time around.

LeBron James was exhausted. Marcus Smart was drained. Luke Kennard was invisible.

The Lakers were cooked, the playoff magic finally drained from a team without its two leading scorers, a team in the process of making every conceivable mistake, reality bouncing off their feet and ricocheting off their hips and falling out of their hands.

On a jarring Friday night at Houston’s Toyota Center, the Rockets led by six with 30 seconds remaining and had possession of the ball. They just needed to get it upcourt. They just needed to play catch.

The Lakers were done.

And if you believe that, then you don’t believe what they believe.

They believed Smart would steal a terrible backcourt pass, absorb a terrible shooting foul and make three free throws.

They believed James would knock away a dribble on the next possession, run to beyond the three-point line, take a pass from Kennard and sink a game-tying trey.

They believed in the miracle of forcing this game into overtime, then believed in the destiny of a 112-108 victory to take an historically insurmountable three-games-to-none lead in a first-round playoff series they should have lost.

How frantic was that finish? In the postseason over the last 29 years, NBA teams that led by six or more points in the last 30 seconds are now 1,713-2.

“It was just a gutty win for us,” James said.

Gutty, gritty, growling, great, great win.

“Everything that we needed to do, even when it wasn’t pretty, we just kind of found a way to do it,” said coach JJ Redick. “And … we’re playing hard. I mean, that’s what you have to do to put yourself in a position to win.”

Lakers center Deandre Ayton, right, and guard Marcus Smart slap hands as they celebrate in overtime during their win Friday.

(Kenneth Richmond / Getty Images)

They are true believers, this bunch, as much as any Laker team has believed since the 2020 championship run, perhaps more than any other Lakers team in history.

They believe in their legendary leader, LeBron. They believe in the playoff-tough Smart. They believe in their connectivity, in their desperation, in their destiny.

They believe this is a special team. Once they get their two injured scorers back — and Austin Reaves and Luka Doncic are apparently returning faster than anyone imagined — they believe this could be a championship-contending team.

They will find out in the next round, when their opponent will be either the defending champions from Oklahoma City or the the Phoenix Suns.

Even if they finish off the Rockets in a sweep — and this series is already over considering NBA teams are 159-0 with a 3-0 lead — they will be considerable underdogs moving forward.

Surely they were lucky that star Kevin Durant didn’t play in two of these three games, including missing Friday’s Game 3 with a sprained ankle.

Surely they can’t keep winning games with 21 turnovers and half as many offensive rebounds and blown 15-point leads.

Surely that even if Reaves and Doncic return, they will revert to being the same team that lost to Oklahoma City by 43 points and lost to San Antonio by 16 in their most recent meetings while at full strength.

Surely they’re not this deep and committed and inspired as they’ve shown in these first three games.

Right? Wrong. Were you watching?

The Rockets used numerous Lakers mistakes and defensive mistakes to take the lead in the final five minutes and seemingly hold it for a series-changing victory. The dagger appeared to be a fastbreak dunk by Alperen Sengun to give the Rockets a 101-95 lead and eventually the ball with the crowd roaring and barely 30 seconds left.

Little did they know the Lakers had them right where they wanted them.

“We’ve talked … about elevating everything,” said Redick, later adding, “You have to elevate your poise, you have to elevate your composure, recognizing that there’s going to be moments where the crowd’s going crazy or you get down, they make a run, whatever it may be. We weathered a lot tonight. … And then, in that moment, just to have the poise to just keep playing.”

The Lakers had that poise. The Rockets lost their cool.

In that moment… what was Jabari Smith Jr. doing throwing a looping backcourt pass to apparently nobody? And after Smart grabbed it and threw up a desperate three… what was Jae’Sean Tate doing fouling him?

“I see Tate running really fast and I’m like, ‘OK, he probably not going to be able to stop in time,’” explained Smart. “So, I just pulled up right away and he ran right under me, exactly what happened. So, it was a smart play. That’s part of my vet, being a vet and my vet savvy. Been in the league for 12 years. I picked up some tricks from some guys.”

Even after the vet’s three free throws, the Rockets still could have easily won this, but… what was Reed Sheppard doing casually dribbling the ball upcourt without noticing James behind him? James knocked the ball away for the steal, eventually got it back, and drained a trey with 13 seconds remaining for the eventual overtime-sending gut punch.

“We don’t have the luxury of being passive or being complacent,” James said. “Our whole mindset is we have to do everything it takes in that particular game and that particular moment in that particular possession in order for us to win basketball games, because we don’t have a long leash of error. We don’t have a lot [of room] for error.”

Once they reached the extra period, well, it was over the moment an angrily stunned Sengun threw a towel to the floor in front of the Rockets’ bench moments after the end of regulation.

The Rockets were unnerved and eventually undone.

Smart started the extra period by hitting a three, then kept the Lakers’ mojo going with a flying save of a rebound that became a Rui Hachimura layup.

Soon thereafter James went to the floor fighting for a ball, then missed a shot that Smart came out of nowhere to grab the offensive rebound, leading to two free throws that eventually put the game out of reach.

Even on a night when James scored 29 points, had 13 rebounds, and threw an ally-oop pass to son Bronny for a reverse layup — so cool! — the hero here was Smart.

He was signed by the Lakers last summer for his postseason toughness and savvy, and he showed every bit of it Friday, with 21 points, 10 assists and five steals. Not to mention, eight points in overtime.

“You got to leave it all on the court, because you never know,” Smart said. ”Because you never know. It can be taken away at any moment, right? And with two of our best players down, we got to play desperate. We got to be the most desperate team and that’s how we have been playing and that’s how we are winning, right? The chemistry has been built because of that.”

It’s a chemistry that works. It’s a chemistry that has built a faith even amid Friday night’s immeasurably high hurdle, a faith that should persist beyond the framework of this finished first-round series.

Down six. Thirty seconds left. Steal the game. Steal the series.

Believe.

A group of hikers were forced to flee as Guatemala’s Santiaguito Volcano erupted, throwing rocks into the air around them. Santiaguito is one of the world’s most active volcanoes, featuring frequent, often daily, explosive eruptions and pyroclastic flows.

Defender Callum Doyle has been a key member of the Wrexham team bidding for the Championship play-offs.

The 22-year-old has played in 36 games in all competitions this season, including 26 successive matches.

His performances have been recognised with a spot in the Championship team of the season, one he describes as a “massive honour”.

But Doyle acknowledges that life at the Stok Cae Ras did not get off to the best of starts.

Back in October the 22-year-old former Manchester City youngster was featuring in only his eighth game for his new club following a late summer move.

In the second half at home to Oxford – a game Wrexham won 1-0 – he was shown a straight red card during the second half of the match.

“It’s one of those moments that it’s a bad moment,” Doyle said.

“But, in the grand scheme of things it’s not so bad of how I’ve changed my attitude towards training.

“And it’s been good for me since that point.”

The sending off proved to be a blessing and a turning point for Doyle’s season.

Doyle’s enforced absence was an opportunity that manager Phil Parkinson and his coaching team used to work with the Manchester-born defender.

“He came in and missed a lot of pre-season, so it took us a while to get him up to speed,” said Parkinson.

“When he got sent off, it was a chance for us to pull him away and do work with him and almost give him a mini pre-season and get him to where he needed to be.

“But I think everybody can see what a class player Callum is.

“He’s got a lot of experience for someone so young and the aim is for him now to finish his season strongly.”

For disputed reasons, April 20, abbreviated to 420, has become a day to celebrate marijuana; even if this is nothing you mark on your calendar, the collective culture is bound to remind you.

Weed is not what it used to be, which is to say illegal everywhere. (State laws may differ, but the federal government still disapproves.) Stoners are no longer useful as a comedy device, while pot’s countercultural meaning has dissipated as it’s been absorbed into the mainstream. According to the CDC, some 60 million American reported using it in 2022. Snoop Dogg is a beloved media figure (and, somehow, an Olympics commentator). Seth Rogen co-owns a cannabis company, Houseplant, that also sells coffee, furniture and incense. The paper you are reading has published weed-themed gift guides.

Now, Hulu, wholly owned by the Walt Disney Company, is marking the day (Monday) with “4×20: Quick Hits,” a frisky anthology comprising four 20-minute documentaries on pot-related subjects, with family-friendly figure Jimmy Kimmel as an executive producer. It’s less about the drug itself than the arts, crafts and enterprises it has inspired. Given where we are now, it’s not surprising that there’s a historical bent to the films, a look back to earlier times — certainly worse for some of the people profiled, who were targeted by and battled with the law in pursuit of their businesses and dreams — but one they regard with a kind of amused nostalgia.

All the films are affectionate, most are light-hearted and often comical. One, Todd Kapostasy’s “Bong Voyage,” about the rise and fall and rise of artisanal glassblower Jason Harris, is narrated by one of his creations and includes such dumb puns as “fine piece of glass.” Directed by Brent Hodge, “Highly Unlikely” is an entertaining, straightforward reminiscence of the making of “Harold & Kumar Go to White Castle,” though it is less about the stoner themes than how the film broke stereotypes in making two little-known Asian actors, John Cho and Kal Penn, the film’s stars. The adorable “The Legend of Ganjasaurus Rex,” directed by Alex Ross Perry, and nearly the premise for a Christopher Guest movie, recounts an act of community filmmaking in the late ‘80s in pot-growing Humboldt County, wherein locals created a monster movie in a proxy war with the authorities, and its inspirational afterlife.

More serious in tone is Kyle Thrash‘s “High Times,” which looks at the history of the pot-centric magazine, its drug smuggling founder Tom Forçade and his suicide. More compelling perhaps is his friend, Yippie co-founder and lifelong cannabis activist Dana Beal, who frames the film; we see him in the nearly present day on trial for drug trafficking, having been stopped in Idaho with 56 pounds of raw marijuana, and also on the streets of New York leafleting passersby with his daughter to “help us legalize weed worldwide.”

Whether or not cannabis itself interests you, each of these mini-docs is capable of holding your attention for 20 minutes — assuming you’re capable from your end — and, being as brief as they are, may well send you to learn more. (I don’t imagine they will send you to smoke pot if you don’t — they didn’t work on me, anyway — and, who knows, might even make one less inclined.) You might finally watch “Harold & Kumar,” or find Garberville on a map, or look to see how things are going for Beal, or discover whether the same John Holmstrom who once edited High Times is the same person who founded Punk magazine and drew covers for the Ramones’ “Rocket to Russia” and “Road to Ruin” albums. (He is.) “Ganjasaurus Rex,” in its 90-minute full length, is itself online to see, and, for those who celebrate, I don’t suppose there’s a better day to watch it.

JUSTIN Bieber superfan Billie Eilish dramatically dropped to the floor on at Coachella when he brought her out on stage.

At weekend 2 of the desert festival, Billie could be seen crawling up the stage before sitting on a chair in front of her idol, Justin, who she has long been a fan of.

Justin then sang the song One Less Lonely Girl to her midway through his Coachella set.

Billie, who has long been a fan of the Baby singer, looked so emotional as she was serenaded by the star.

On X, fans have reacted to the moment.

One person penned: “THE FACT that it wasn’t planned, literally it was Hailey Bieber herself who pushed Billie Eilish to get on stage and be the OLLG.”

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A second wrote: “No way that Billie Eilish became one less lonely girl in 2026.”

“This is so cute I love how Billie still stays in her fangirl zone around Justin,” said a third.

“Will go down as one of the most iconic Coachella performances ever,” added a fourth.

“She’s such a fan lmao,” penned a fifth.

While a sixth said: “Justin pulling Billie on stage for ‘One Less Lonely Girl’ and holding her like that?? Coachella 2026 just healed my 2015 heart. This is the collab we NEVER knew we needed.”

Billie has long credited Justin as an inspiration, and even grew up as a Belieber.

“He’s amazing. He’s so sweet and, like, I feel – just, honestly, I feel for him, man. He’s been through a lot, dude,” Billie told Ellen DeGeneres previously.

The pair met at Coachella in 2019 and went on to collaborate on the remix to her song Bad Guy.

When the remix came out, Billie shared a photo of her as a teen in her bedroom which had posters of Justin plastered all of the walls.

Alongside the snap, she penned: “BAD GUY FEAT. JUSTIN BIEBER OUT NOWWW OMGFFFFGGG ANYTHING IS POSSIBLE MAN.”

This weekend’s set from Justin marked his second weekend headlining at Coachella this year.

Following his headline set last weekend, the star hosted a blowout bash with wife Hailey and A-list friends.

A source told The U.S. Sun that the party was ultra-exclusive and hosted by Justin’s new fashion brand, Skylrk, which also had a pop-up at the festival.

“Many people were turned down who had previously been invited,” they claimed.

“Promoters also had a lot of girls on their guest lists and I heard Hailey was turning them away.”

Influencer Zach Clayton echoed this by sharing a video on his TikTok showing a guy complaining, “They cut all my guest list off.”

He explained he invited 20 girls and they were all denied, joking that Hailey is a “boss,” and she was likely the reason they were not given access to the private event.

Corrie star Craig Charles took on the Retching Ball challenge with fellow campmate David Haye in a bid to earn food for camp in the latest bushtucker trial

The latest bushtucker trial left I’m A Celeb star Craig Charles throwing up a mouthful of maggots.

The 61-year-old Corrie star took on the Retching Ball challenge with fellow campmate David Haye in a bid to earn food for camp. The duo were strapped into a revolving ball while having to answer questions directed at them by Ant and Dec.

But of course in true I’m A Celeb style they were not alone in the ball cage, as creepy crawlies were dumped on them to add to their distress. Following a dumping of maggots on the duo, David Haye cried out ‘I’ve got maggots in my mouth’ and it wasn’t long before co-star Craig began throwing up.

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David and Craig carried on for another round but the momentum seemed to catch up with Craig. As he threw up Ant quipped “Oh I think we’ve had a vomit. Now Craig you’ve just worked out why it’s called the wretching ball,” he added.

Despite his sickness, he kept going but he ended up being sick again in the final round where they were asked to name Adele songs. Craig looked delighted when time was up and he and David were removed from the retching ball to learn they had secured seven out of a possible 11 stars in total.

In a sneak peek at tomorrow evening’s episode Gemma Collins appears to quit again. She told the cameras: “I’m A Celebrity get me out of here. I am done.”

She looked to be in tears again as a stunned Scarlett watched on. It left fans pondering if she had actually walked again, or if it was another low moment for the reality TV star.

On X, formerly known as Twitter, one user said: “Hope Gemma doesn’t go from that clip! I need misery guts David gone before anyone else in camp!”

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