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BBC Race Across The World’s Kush breaks down after opening up on beloved father’s death

The Race Across the World star was left in tears during an emotional moment

Race Across The World’s Kush was reduced to tears after opening up about the death of his dad.

The 19-year-old contestant and his best friend Jo, 19, from Liverpool are the youngest competitors taking on the challenge of racing against one another across more than 12,000km from Sicily to Mongolia.

In pursuit of the £20,000 prize, the pair embarked on another leg of their journey during tonight’s (April 30) episode, which marks the halfway point of the race.

Together with their fellow competitors, they tackled the longest leg of the race, travelling through the world’s largest landlocked country, Kazakhstan, and onwards into Uzbekistan.

Midway through their journey, they seized the opportunity to visit a local gym and try their hand at judo, as Kush is a keen Muay Thai practitioner back home, reports the Liverpool Echo.

However, the experience stirred up memories of his late father, who tragically took his own life during lockdown.

Speaking directly to camera, he began: “Coming to this gym, it means a lot to me. It’s more than just throwing and hitting fighting. There’s a lot of meaning behind it.”

In a deeply personal moment, he revealed: “I think back to memories with my dad. I found it sick to do what your dad does. Being in the gym, I wonder what he’s thinking. He would be standing on the side with a particular sort of smirk on his face, watching me do judo throws.”

Clearly emotional, Kush recalled: “I remember the day he passed. It was locked down and it was a real big shock. He had really poor mental health and he took his own life. You never forget that shock factor.

“I still think about him all the time. Being on this journey has brought back little moments and I wish I could sort of show who I am now because when you’re 14, I didn’t know who I was and I was still a child.

“I made a lot of mistakes when I was younger and I feel like, if I could sort of show him what I’ve learn’t…” The 19 year old was unable to finish his sentence as he dissolved into tears.

Viewers watching from home were left deeply moved by the heartbreaking moment, taking to social media to share their reactions. One fan wrote: “Poor Kush. He’s a lovely lad, they both are. #RaceAcrossTheWorld.”

Another said: “Kush opening up on the loss of his father at just 1 year old-oh man #RaceAcrossTheWorld.” A third wrote: “kush is breaking my heart omg #raceacrosstheworld.”

Yet another commented: “Damn! Kush lost 2 dads at such a young age. I’m sure they’re proud of him #RaceAcrossTheWorld.” While another added: “Such a heartbreaking leg for Kush and Joe – what humble lads they are #RaceAcrossTheWorld.”

Race Across the World is available to stream on BBC iPlayer

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Jet2, easyJet, Ryanair and TUI list of check-in desk opening times

A travel specialist has said some people are giving themselves ‘too much time’

Travellers can avoid ‘pointless’ time-wasting this spring and summer by knowing exactly when to turn up at European airports with enough time to get through the new EES checks. Getting the timing spot on could help passengers feel less worried about missing their flights if they find themselves stuck in lengthy passport control queues.

Travel specialist Kate Donnelly (@Thedonnellyedit) said: “There is a lot of mixed information out there, and some people are saying that you need to get to the airport four to five hours before your departure. This is absolute nonsense. You need to be at the airport a minimum of three hours before your flight.

“Firstly, the bag drop in most European airports only opens two hours before departure, in some cases it may be three hours. [So] getting there four to five hours before your flight just means you’re going to be sitting waiting for the check-in desks to open.”

Kate went on to explain that, once you’ve cleared security and duty-free, most airports should have multiple border control points, reports the Express. She said: “You need to wait for your gate to be announced in order to know which one you have to pass through.

“[Even] if you haven’t had to wait to check a bag (you’re travelling with just hand luggage) and you’ve gone straight through, you are still going to be sitting in the main airport waiting for your gate to be called. This is why getting there hours ahead of time is pointless.”

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How much time should I allow myself?

Depending on which airline you fly with, some carriers open their check-in desks several hours ahead of departure. Getting your timing spot on will give you the best chance of sailing through the airport, even if there are potential EES-related delays.

Most airlines work to similar timeframes, though this can vary by route. For instance, airlines tend to open check-in desks for long-haul flights considerably earlier than for shorter trips, as they require additional time for security and document checks, including visa verification.

It’s worth double-checking directly with the airline operating your service, or you may receive guidance a few days before you’re due to depart. Below is some general advice on when some of the more popular airlines will begin checking passengers in:

  • British Airways: Two to three hours before the flight
  • easyJet: Two hours before the flight
  • Jet2: Three hours before the flight
  • Ryanair: Two to three hours before the flight (airport dependent)
  • TUI: 2.5 hours before (short-haul) / 3.5 hours before (long-haul)
  • Virgin Atlantic: Four hours before the flight

Some airlines – like Jet2, easyJet, TUI, British Airways, and Ryanair – offer a twilight check-in service for people catching early departures. Passengers who are staying close enough to the airport to arrive the night before can drop off bags at select airports the night before their flight, so they can head straight to security on the day of their flight.

What is the new EES system?

The European Union’s (EU) Entry/Exit System (EES) launched on October 12, 2025. This new digital border system has altered the requirements for British citizens travelling to the Schengen area, which includes the following countries:

  • Austria
  • Belgium
  • Bulgaria
  • Croatia
  • Czechia
  • Denmark
  • Estonia
  • Finland
  • France
  • Germany
  • Greece
  • Hungary
  • Iceland
  • Italy
  • Latvia
  • Liechtenstein
  • Lithuania
  • Luxembourg
  • Malta
  • Netherlands
  • Norway
  • Poland
  • Portugal
  • Romania
  • Slovakia
  • Slovenia
  • Spain
  • Sweden
  • Switzerland

The UK, the Republic of Ireland, and Cyprus are not part of the Schengen area. EES does not apply when travelling to any of these countries.

If you are travelling to a Schengen area country for a short stay on a UK passport, you may be required to register your biometric details, such as fingerprints and a photograph, upon arrival. No action is needed before you reach the border, and EES registration is completely free of charge.

EES registration will replace the existing manual passport stamping system for entering the EU. EES may require additional time per traveller, so travellers should be prepared for longer waits than usual at border control.

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World’s largest wildlife bridge that’s cost £84.5 million finally has opening date

The project has been delayed by a year.

After multiple setbacks and delays, the opening of the world’s largest wildlife bridge has finally been revealed. Spiralling costs and building delays pushed the project back by at least a year.

Work has been underway on the bridge for four and a half years. Now, it has been confirmed that the Wallis Annenberg Wildlife Crossing over the 101 Freeway in Agoura Hills, north of Los Angeles, will open on December 2.

The project leaders made the announcement on Earth Day. Managers said: “What a journey this has been! And we cannot wait to celebrate with you all.”

The main section of the bridge, which spans 10 lanes of the freeway, has largely been completed and landscaped. Work still left to do includes building over Agoura Road and connecting both ends of the bridge to the open space on either side.

It will eventually allow wildlife to safely pass through. California’s regional director for the National Wildlife Federation, Beth Pratt, has already seen some wildlife enjoying the bridge.

She told KNX News Radio: “I’ve recorded multiple species of butterflies up here. We’ve had, I think, eight species of birds.

“We’ve had red-tailed hawks and American kestrels fly by, so wildlife are already responding to it, even though it’s not connected to the landscape.”

The goal of the project is to reinvigorate the mountain lion population in the area. Animals that are frequently hit by cars on the freeway are also set to benefit, which include bears, bobcats, foxes, coyotes and deer.

The bridge has faced multiple delays and criticism. In 2022, the project broke ground with a $90million price tag (£66.5million) and was set to be completed by 2025.

However, reports today say the total has climbed to $114million (£84.5million), which has been paid for through private donations and public funds.

Project leaders have said near-record rainfall, which saturated the site in 2023 and 2024, delayed work. Project costs were also pushed higher due to inflation, labour shortages and the complexity of the project.

In a blog post, project leaders said: “The criticism often flattens a far more complicated reality. This is not a standard overpass. Engineers are effectively building a living ecosystem over 10 lanes of one of the busiest freeways in the country.”

It added: “Projects of this scale should be questioned, audited and debated—especially when it’s the public’s money being used.

“But they should also be judged on their purpose. In a region where wildlife populations face genetic isolation and frequent freeway deaths, doing nothing carries its own cost.

“The real question is not whether the crossing is ambitious—it clearly is. It’s whether Southern California is willing to invest in repairing the environmental missteps that made the project necessary in the first place.”

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Refik Anadol’s AI arts museum, Dataland, sets opening date

After more than two and a half years of research, planning and construction, Dataland, the world’s first museum of AI arts, will open June 20.

Co-founded by new media artists Refik Anadol and Efsun Erkılıç, the museum anchors the $1-billion Frank Gehry-designed Grand LA complex across the street from Walt Disney Concert Hall in downtown Los Angeles. Its first exhibition, “Machine Dreams: Rainforest,” created by Refik Anadol Studio, was inspired by a trip to the Amazon and uses vast data sets to immerse visitors in a machine-generated sensory experience of the natural world.

The architecture of the space, which Anadol calls “a living museum,” is used to reflect distant rainforest ecosystems, including changing temperature, light, smell and visuals. Anadol refers to these large-scale, shimmering tableaus as “digital sculptures.”

“This is such an important technology, and represents such an important transformation of humanity,” Anadol said in an interview. “And we found it so meaningful and purposeful to be sure that there is a place to talk about it, to create with it.”

The 35,000-square-foot privately funded museum devotes 25,000 square feet to public space, with the remaining 10,000 square feet holding the in-house technology that makes the space run. Dataland contains five immersive galleries and a 30-foot ceiling. An escalator by the entrance will transport guests to the experiences below. The museum declined to say how much Dataland, designed by architecture firm Gensler, cost to build.

An architectural rendering of a museum.

An isometric architectural rendering of Dataland. The 25,000-square-foot AI arts museum also contains an additional 10,000 square feet of non-public space that holds its operational technology.

(Refik Anadol Studio for Dataland)

Dataland will collect and preserve artificial intelligence art and is powered by an open-access AI model created by Anadol’s studio called the Large Nature Model. The model, which does not source without permission, culls mountains of data about the natural world from partners including the Smithsonian, London’s Natural History Museum and the Cornell Lab of Ornithology. This data, including up to half a billion images of nature, will form the basis for the creation of a variety of AI artworks, including “Machine Dreams.”

“AI art is a part of digital art, meaning a lineage that uses software, data and computers to create a form of art,” Anadol explained. “I know that many artists don’t want to disclose their technologies, but for me, AI means possibilities. And possibilities come with responsibilities. We have to disclose exactly where our data comes from.”

Sustainability is another responsibility that Anadol takes seriously. For more than a decade, Anadol has devoted much thought to the massive carbon footprint associated with AI models. The Large Nature Model is hosted on Google Cloud servers in Oregon that use 87% carbon-free, renewable energy. Anadol says the energy used to support an individual visit to the museum is equivalent to what it takes to charge a single smartphone.

Anadol believes AI can form a powerful bridge to nature — serving as a means to access and preserve it — and that the swiftly evolving technology can be harnessed to illuminate essential truths about humanity’s relationship to an interconnected planet. During a time of great anxiety about the power of AI to disrupt lives and livelihoods, Anadol maintains it can be a revolutionary tool in service of a never-before-seen form of art.

“The works generate an emergent, living reality, a machine’s dream shaped by continuous streams of environmental and biological data. Within this evolving system, moments of recognition and interpretation emerge across different forms of knowledge,” a news release about the museum explains. “At the same time, the exhibition registers loss as part of this expanded field of perception, most notably in the Infinity Room, where visitors encounter the 1987 recording of the last known Kauaʻi ʻŌʻō, a now-extinct bird whose unanswered call becomes part of the work.”

“It’s very exciting to say that AI art is not image only,” Anadol said. “It’s a very multisensory, multimedium experience — meaning sound, image, video, text, smell, taste and touch. They are all together in conversation.”

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First look at new £40m train station opening in pretty English village

A FIRST look at a new £40million train station has been revealed.

The hub is set to connect thousands in a rural English village to two major UK cities.

Construction for the new railway station in Charfield in South Gloucestershire began in August 2025 and will host train services for the village for the first time in decades.

Newly paved parking lot with white dashed lines.
Charfield station will boast a 70-space car park Credit: Unknown

Now, locals have been given a first glimpse of the £39.5million project that will provide them with hourly trains to and from Bristol, Gloucester and Yate.

With the station set to open in spring of 2027, a new image of its 70-space car park has been shared.

“This 70-space car park will support future rail users by providing safe, convenient access to the station and is a big step forward ahead of the station welcoming its first passengers in spring 2027,” a spokesperson for South Gloucestershire Council said.

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There will also be other facilities built as part of the two-platform station, such as a pedestrian footbridge, bus stop and cycle parking.

Located off of Charfield’s Station Road, the renovation will provide the village with train services for the first time since 1965.

Thanks to funding for the project from the West of England Mayoral Combined Authority, residents will enjoy fast links to nearby cities and be able to reduce reliance on car travel.

“It will improve the local and regional road network and give people the option of fast, clean travel to the heart of neighbouring towns and cities for work, education and leisure,” said South Gloucestershire Council Cabinet Member for Planning, Regeneration, and Infrastructure, Councillor Chris Willmore.

“We know this project has been a long time coming, and there will inevitably be some disruption while the work is carried out, but it’s an investment for the future of the village and the surrounding area and we are so pleased to be getting on with delivering the infrastructure that people need,” he added.

Charfield is one of five new station builds set to take place in the West of the country over the next few years.

“Local people in and around Charfield will see and feel the difference, with new travel options thanks to regional investment with the support of local and national partners,” said Mayor of the West of England, Helen Godwin.

“Delivering projects like Charfield station lays the foundations for a better transport system overall for the West of England, building the kind of regional railway network that other places take for granted.”

Two GWR trains side-by-side, with the front of the train in the foreground showing the GWR logo on its yellow nose.
The Charfield station project is set to be completed next spring Credit: Alamy

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Machado’s Return Is the Real Test of Venezuela’s Political Opening

The real test of Venezuela’s current political moment will not be institutional, but political. It will not lie in the appointment of a new prosecutor, or in any decision taken by a parliament that, by design, reflects the preferences of those in power. It will lie in something far less controllable: the return of María Corina Machado.

For months, there has been talk of normalization, of technocratic adjustment, even of a transition managed from within. It is an appealing idea, but an illusory one. As usual, chavismo does not administer space, it occupies it. The notion that it would suddenly evolve into a system governed by technocratic restraint, even under US pressure, was always more wishful thinking than analysis.

What has changed is not the nature of the system, but our understanding of it. For years, it was assumed that power rested on a rigid internal balance, a kind of tripod between civilian leadership, party machinery, and the military. The uneventful sidelining of Vladimir Padrino López suggests otherwise. Now relegated to an almost theatrical role as Agriculture Minister, he makes appearances at cattle shows in Borsalino hats and Panerai watches. We have long known that chavismo’s superpower is its adaptability. It can reshuffle, absorb shocks, and reallocate power without fracturing, even at its highest levels, and carry on.

That adaptability cuts both ways. It helps explain why Delcy Rodríguez has been able to consolidate authority despite presiding over the country under the tutelage of the “yankee devil”, and despite earlier doubts about her staying power. It also explains why the government has been able to pursue a limited opening without losing control. But it also sets the limits of that opening.

Because the one problem the system has not been able to solve is credibility.

An empty pitch

The effort to attract investment has run into a wall that legal reforms and external signaling cannot easily overcome. Investors are not simply looking for incentives, they are looking for guarantees, that power is legitimate, that rules will be upheld, that today’s opening will not be reversed tomorrow. So far, those guarantees do not exist.

As I have argued before, none of this means that capital will stop flowing into Venezuela altogether. It won’t. There are firms that know how to operate in this environment, firms that have built their business models around political risk rather than in spite of it.

Take Grupo Cisneros, which is moving to secure a $1 billion investment fund aimed at Venezuela’s recovery. Or Chevron, which has doubled down on its presence through a major asset swap with PDVSA, expanding its stake in key projects in the Orinoco Belt.

What is not arriving, at least not yet, is transformational capital, the kind that requires predictability, legal certainty, and a credible political horizon.

These are not naïve entrants. They are actors with long experience navigating the Venezuelan system. Cisneros has remained a player despite fines and suspensions over the years. Chevron, for its part, has effectively become the most important American economic partner of the current government, maintaining operations through multiple political cycles and regulatory frameworks.

But that is precisely the point.

This is not the kind of capital Venezuela needs.

What is arriving, or staying, is adapted capital, capital that knows how to survive volatility, negotiate through informal institutions, and operate without full guarantees. What is not arriving, at least not yet, is transformational capital, the kind that requires predictability, legal certainty, and a credible political horizon.

And that gap cannot be closed through reforms alone. It cannot be legislated into existence, nor negotiated deal by deal. It requires something more fundamental: confidence that power in Venezuela is not entirely discretionary.

The pressure map

The timing of this becomes even more significant in light of Venezuela’s re-engagement with the IMF and the World Bank. After years of isolation, the country is once again being folded back into the international financial system, opening the door to technical assistance, debt restructuring, and eventually, fresh financing. It is the clearest signal yet that normalization, at least at the institutional level, is moving forward.

But this only sharpens the underlying problem.

These institutions can help stabilize accounts, restructure liabilities, and provide liquidity. What they cannot do is manufacture credibility where it does not exist. Their return signals that Venezuela is being treated, once again, as a country with which business can be conducted. It does not guarantee that the rules of that business will hold.

In some ways, Delcy has the easier hand to play. The current arrangement in Venezuela has become useful to Donald Trump in ways that go beyond the country itself. With the Iranian campaign failing to deliver the results he had anticipated, Venezuela has quietly taken on the role of a foreign policy success story, something tangible he can point to, both in terms of energy security and geopolitical leverage.

That utility is not uniform across his coalition. For more isolationist voters in what is often referred to as flyover country, a stable Venezuela that does not require further military involvement, and that contributes to stabilizing US energy prices, is a net positive. 

Detaining Machado, after appearances at CERAWeek and high-level meetings in Europe and Washington, would send a clear and immediate signal to the very actors the government has been trying to court.

Venezuelan crude is already easing pressure on US fuel costs, reinforcing the perception that the current arrangement delivers practical benefits.

But in South Florida, the picture is different. Latino voters, particularly Venezuelans, are already uneasy with the administration’s immigration policies, and are far less inclined to accept stability under a reconfigured chavista leadership as an acceptable endpoint. They are drawn instead to Machado’s message, and increasingly wary of what a prolonged Delcy Rodríguez-led government would mean. For them, the issue is not stability alone, but the absence of a credible electoral horizon.

This creates a tension within Washington’s own political logic. On one hand, there is an incentive to consolidate what appears to be working: restored oil flows, renewed financial channels, and growing international engagement with Caracas. On the other, there remains a constituency that expects something more, a path toward elections, not just normalization.

Machado, in this context, faces a more complex task than it might appear. She is not only trying to pressure the Venezuelan government, she is also trying to persuade a cautious administration that pushing beyond the current equilibrium is worth the risk, that the next step is not to stabilize the system as it is, but to open it further.

And she is doing so with limited institutional backing. Much of the Venezuelan civil society ecosystem aligned with MAGA politics appears more focused on maintaining its own access to the White House than on advancing a coherent strategy for Venezuela itself. That leaves Machado in a familiar position, carrying the burden of political escalation largely on the legs of her own prestige, but now within a much tighter set of constraints.

This is where María Corina Machado reenters the picture, not just as a political actor, but as a structural variable. Her return forces a choice that cannot be deferred. Allow her back into the country, or stop her.

Detaining her, after appearances at CERAWeek and high-level meetings in Europe and Washington, would send a clear and immediate signal to the very actors the government has been trying to court. These are not abstract observers, they are the same executives and investors now being asked to commit capital. Arresting her would not simply be a domestic political decision, it would be read as a statement about the limits of the current opening.

Allowing her to return is not costless either. It risks projecting weakness toward a base that has been conditioned to expect control. It creates space for mobilization, for coordination, for a reactivation of political pressure that the system has worked hard to contain.

But at this stage, that is a more manageable risk.

A constrained confrontation

Chavismo has shown that it can absorb internal contradictions. It can tolerate limited openings while maintaining overall control. What it is less equipped to manage, at least at this point, is a collapse in external credibility at the precise moment it is trying to rebuild it.

This is also not a confrontation between unconstrained actors. Machado is operating within limits of her own. She understands that an uncontrolled escalation could be interpreted in Washington as an attempt to derail a strategy that, for now, tolerates the current arrangement. Her leverage depends not only on mobilization, but on preserving her external legitimacy.

What emerges from this is not a clean confrontation, but a constrained one. Both sides are pushing, but neither is free to push all the way. Machado needs to generate pressure without triggering a rupture that works against her. The government needs to contain that pressure without closing the space in ways that undermine its own economic strategy.

That is what makes her physical presence in the country so consequential. Without it, the reactivation we are beginning to see, student movements regaining traction, party structures reopening, political figures cautiously returning, remains fragmented. With it, that energy has a focal point. 

And that is precisely why her return has become the real test. Not whether the system can produce institutional outcomes aligned with its interests, but whether it can tolerate, and ultimately absorb, the presence of the one actor it does not fully control, without undoing the fragile equilibrium it is trying to build.

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Inside LACMA’s David Geffen Galleries lavish opening gala

Finding a revolutionary artist during cocktail hour at the opening gala of Los Angeles County Museum of Art’s new David Geffen Galleries was like shooting fish in a barrel.

Gaze over the rim of your glass to notice Jeff Koons and Ed Ruscha talking closely beside the DJ booth. Mark Bradford strides by with a beneficent smile — towering over everyone, including AI art maker Refik Anadol. Todd Gray, whose 27-foot-long photo sculpture “Octavia’s Gaze” graces the hallway near the building’s south entrance, chats with Wim Wenders, who is making a documentary about architect Peter Zumthor’s controversial new $724 million concrete behemoth. Zumthor is there too — in bright red sneakers — talking to LACMA director and chief executive Michael Govan before Govan turns to take a selfie with immersive installation artist Do Ho Suh.

Jeff Koons talks with Ed Ruscha.

Jeff Koons, left, talks with Ed Ruscha at the opening gala for LACMA’s new David Geffen Galleries on Thursday.

(Jessica Gelt / Los Angeles Times)

Lauren Halsey walks by in her distinctive white shirt, long shorts and ball cap, beset on all sides by friends and admirers.

“It’s beautiful, it’s fantastic,” she said of Zumthor’s creation.

It’s an artist’s world on this breezy evening, as the sun sets golden over the looming gray concrete of the building, and the lights that gird the structure’s underbelly flicker on and twinkle like stars overhead. In this milieu, Hollywood A-listers like Will Ferrell and Sharon Stone, who occupy separate cliques nearby, pale in comparison to the mingling artistic luminaries.

Peter Zumthor and Michael Govan chat.

Architect Peter Zumthor, left, and Michael Govan attend LACMA’s opening gala for the David Geffen Galleries. Govan said he hopes the building lasts 500 years.

(Gina Ferazzi / Los Angeles Times)

“It’s ready for us,” Bradford said of the building. “It’s ready for artists. I walked in and I was overwhelmed with a space that was made for us, and I can’t wait for everything I can do.”

“Snazzy. Does the job,” said Ruscha, looking bemused and speaking in short bursts of headline-style phrases like one of his famous paintings.

Gray said he was glad to see his art during “magic hour,” noting how the setting sun shone warm through the building’s glass windows — diffused by textile designer Reiko Sudo’s chromium spattered curtains — to imbue his photo installation with a distinctive warmth.

“I’ve never seen it at dusk,” Gray said with a smile. “It was a totally different experience to see it at that time of day. And [the light was] actually yellow, so the piece changed … and the concrete warmed up because of that warmer light. It was a lovely chromatic experience, which is wonderful because then you’re aware that you’re experiencing something in a very particular space and time.”

James Goldstein, the owner of architect John Lautner’s famed Sheats-Goldstein Residence, which he promised as a gift to LACMA in 2016, agreed with Gray that the gloaming light was lovely.

“If it were up to me the curtains wouldn’t be closed,” Goldstein said, noting that the curtains in his home — which is also made of concrete and glass — are never closed, and that the views from the Geffen Galleries are extraordinary and worth leaning into.

Koons said the building, and the moment in time that defines its unveiling, has the potential to bring the world together.

“It’s an amazing evening for all these people that love and believe in the value of art and humanity to be together and to celebrate architecture,” said Koons, noting that he looks forward to showing his art inside the new galleries. “LACMA is a place that’s here for future generations and Peter’s building is amazing.”

Will Ferrell and Viveca Paulin pose in front of a building.

Will Ferrell and Viveca Paulin were among the major Hollywood stars at the gala.

(Gina Ferazzi / Los Angeles Times)

Chatter about the building could be heard in every cluster of guests. One group talked about how striking it was to see ancient Greek sculptures juxtaposed against the rush of traffic along Wilshire Boulevard; another discussed their hope for more landscaping, noting that the concrete ground and concrete building begged for some lush greenery.

Govan basked in the limelight nearby, shaking hands and doling out hugs and back pats. His vision for the building has been 20 years in the making, and he’s faced an enormous amount of pushback, but the structure is here and his enthusiasm for it has not waned.

“I’ve just always imagined people in the building — it’s for people,” Govan said. “And I want it to last 500 years, I want those little drill marks to accumulate, I want change. I want this to be something that generations will care for.”

Zumthor also seemed deeply pleased with the moment, saying, “I’ve always been happy,” and emphasized that working in L.A. taught him to embrace a certain frontier-like lack of refinement.

LACMA’s staff was elated, especially those who have been watching the project develop for decades and absorbing the large amounts of criticism that have accompanied its manifestation.

Stephanie Barron, LACMA’s senior curator and modern art department head, said, “This is the first night with our art world colleagues and donors, and it’s thrilling to see how they are responding, and how they are a little confused, at first, about where to go. Then they realize, that’s the point of this — and they are just going with the flow and they are smiling and happy and looking at the art. It’s a game changer.”

“I’ve been here nearly 20 years and seeing this going from concept to reality has been the greatest thing,” said Tiffany August, associate vice president of LACMA’s people and culture department, which oversees human resources. “So much soul and heart and effort went into this.”

Arun Mathai, budget officer and head of finance, has also been with the museum for 20 years and said it’s exciting to finally be on the other side of the project. “To see it happen in such a beautiful way is very gratifying. The notion of no hierarchy, of wandering around and seeing art from all over the world, from all time periods beautifully juxtaposed, it’s just so enlightening,” Mathai said.

A group pf people talk and smile.

Michael Govan, left, Peter Zumthor, Holly J. Mitchell and Mayor Karen Bass attend the opening gala.

(Gina Ferazzi / Los Angeles Times)

Later, during a four-course meal of broiled oysters, tuna tostadas, braised Wagyu short ribs and berry meringue, various LACMA supporters, including board co-chair Tony Ressler; life trustee and major donor Lynda Resnick; and L.A. County Supervisor Holly J. Mitchell, whose district houses LACMA, took to the stage in a tent set up west of the new building to sing the praises of the Geffen Galleries — and to note that the evening’s dinner raised a record-setting $11.5 million. (The Geffen Galleries’ ongoing fundraising campaign now stands at $869 million.)

“This is a great, great example of what can be achieved when government and philanthropy work hand in hand for the public good,” Ressler said before thanking Govan for “taking bold risks.” “Your legacy is now permanently etched in the stunning galleries that will open to the public very soon.”

Mitchell was full of praise for Govan and Zumthor.

“The Geffen Galleries didn’t come to fruition overnight. And frankly, nothing that changes the status quo ever does,” Mitchell said. “To Michael, Peter, David [Geffen] and our dear Elaine [Wynn], thank you for your patience, because visionaries like yourselves often have to wait for the rest of the world to catch up with you.”

Resnick got a big laugh when she described her first meeting with Govan and his wife 21 years ago.

“An exquisite couple walked into [vice chair of the board] Bobby Kotick’s house. There was Michael Govan, a true intellectual, Zen thinker, movie star handsome, and under consideration to run LACMA. By the end of the evening, I was sitting on his lap feeding him peeled grapes.”

She concluded on a more serious note, calling the Geffen Galleries a “masterpiece of public art.” “Only one person in the world could have done all this with the signature elegance and his provocative style,” she said of Govan. “Generations will cross that bridge and watch the cars stream below, and feel the power of being embraced by art above all the gorgeous chaos of our city.”

After a standing ovation, Govan introduced musicians Sean Watkins, Gabe Witcher and T Bone Burnett, who sang — quite fittingly — “The Times They Are A-Changin.’”

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UK’s new Paw Patrol land officially has an opening date ahead of school holidays

The new land will add playful puppy-themed fun to Chessington and comes with new rides, places for kids to play, as well as meet and greets with the much-loved hero doggy characters

Chessington World of Adventures has finally revealed the opening date of its long-anticipated PAW Patrol land, and parents will be pleased to hear that the gates will be open to meet the pups before May half-term.

From May 3, kids and their parents will be able to enjoy a brand-new and very colourful PAW Patrol-themed area at Chessington in a new £15 million immersive experience.

The date also coincides with the early May bank holiday, so parents may wish to book Chessington tickets now to avoid missing out on this paw-some experience. At the heart of the new land are four kid-friendly rides, each one inspired by a different pup from the brave crew.

The land’s four new rides are: Chase’s Mountain Mission, Marshall’s Firetruck Rescue, Skye’s Helicopter Heroes, and Zuma’s Hovercraft Adventure, which also claims to be the UK’s first ‘Drifter’ ride. The 1.4 acre land will also have three themed play areas, perfect for little pups to burn off energy, and include Rubble & Rocky’s Play Zone where they can climb and crawl through a maze of construction parts.

At The Flounder Boat Play, kids can enjoy a high-seas adventure with Captain Turbot, and there will also be themed food and drink offerings throughout the area. And of course, there will be a gift shop with plenty of PAW Patrol themed merch to take home as a souvenir. Regular meet and greets will also take place, so kids can get a photo with their favourite hero.

And if simply spending the day at Adventure Bay wasn’t enough, fans of the pups can also book a PAW Patrol themed room at the resort’s hotels. These colourful and fun rooms are fully-themed including bunk beds shaped like the pups’ rescue vehicles and colourful murals. Guests also enjoy early access to the park from 9am, allowing parents with young kids to get on the rides with minimal queues.

The park is the UK’s first and only land themed around PAW Patrol, a series that has become massively popular among pre-schoolers. The series airs on Channel 5 and Nickelodeon, as well as streaming on Paramount+.

Chessington isn’t the only park getting a new themed land this year. Over at Paultons Park guests will be able to enjoy the new Valgard — Realm of the Vikings land from May 16. This will include a new rollercoaster and swing ride.

Crealy Theme Park is also adding two new rides to its offerings for summer 2026, although dates are still to be confirmed. This includes Pirates’ Plummet, which claims it’ll be the tallest ride in the south west, and Rotor, an inverting flat ride which will spin passengers around and upside-down for a “heart pounding adventure”.

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