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July 31 (UPI) — British oil giant BP announced plans Friday to sell off its North Sea business, ending six decades of exploration and extraction in the U.K. Continental Shelf since the company first struck gas there in 1964.

The firm said that nothing would change for the time being while a buyer was found, vowing in a news release that it was fully committed to continuing to run its operations, prioritizing safety and dependability, while delivering for its customers, partners and investors.

The outcome of a review of its portfolio, BP said the goal was to enhance the value of the company by making it simpler and stronger through adhering to its approach of allocating capital in a rigorous fashion.

“The North Sea remains integral to the U.K.’s energy system. However, as we focus our portfolio and direct capital to our highest-value opportunities, we believe our North Sea business will be better positioned as part of another company. It has world-class people, resilient assets and a proud heritage, and it is precisely these qualities that can attract an owner ready to back its next chapter,” said BP.

“We are seeking an outcome that recognizes that value.”

CEO Meg O’Neill stressed that Britain would remain of key importance to the company going forward, saying BP was proud of the employment it generated, its input to the economy and its role in keeping energy flowing every day.

As recently as May, O’Neill described the North Sea basin as one of “untapped potential.”

The share price gained slightly on the news, rising a little more than 1% to $7.36 in mid afternoon trade on the London Stock Exchange on Friday.

BP has 24 fields across five main nodes in the North Sea, including its key Clair Ridge and Schielhallion fields of the Shetland Islands, with 1,100 workers pumping a little under 100,000 barrels of gas and oil daily.

Energy consultant Rystad, which estimates the North Sea business was worth $2.6 billion, told the Financial Times that it believed that the TotalEnergies-HitecVision-Repsol joint venture Neo Next +, Delek Group of Israel or Eni of Italy were in the running to buy it.

George and Amal Clooney evacuated their 425-acre Provence wine estate in southeastern France amid the wildfires spreading across Europe.

The “Jay Kelly” star revealed the news in a letter to Didier Bremond, the mayor of the town of Brignoles, east of Marseille.

“Dear Didier, [a]t this point we have no idea whether our beautiful home makes it through this terrible moment,” the letter read.

“As we evacuate Brignoles we want to emphasise 2 things, first we hope you and the people of our city are safe and second that Amal and [I] are committed to making sure that whatever happens to our village, we are part of this community and we’ll be part of making it whole.

“We love Brignoles and our friends who live there.”

The fire near Brignoles sparked on Wednesday and burned about 250 acres. The Brignoles fire was significantly smaller than the massive wildfire that recently ravaged southwestern France near Bordeaux, where 84,000 evacuees were allowed to return home Thursday as firefighters gained control over flames that had burned an area four times the size of Paris.

In December, the French government announced that the Clooneys, including their 9-year-old twins, Ella and Alexander, were awarded citizenship.

The Clooneys bought property in France — a farm, he recently told Esquire — in August 2021 for $8.3 million, when their twins were 4. He said it was a “much better life” there for the children.

“Yeah, we’re very lucky. … A good portion of my life growing up was on a farm, and as a kid I hated the whole idea of it. But now, for them, it’s like — they’re not on their iPads, you know?” he said in the interview, published in the magazine’s October/November issue.

“I was worried about raising our kids in L.A., in the culture of Hollywood. I felt like they were never going to get a fair shake at life. France — they kind of don’t give a s— about fame. I don’t want them to be walking around worried about paparazzi. I don’t want them being compared to somebody else’s famous kids.”

George Clooney and Amal Alamuddin, a human-rights lawyer, tied the knot in September 2014 in Venice, Italy.

The Associated Press and former Times staff writer Christie D’Zurilla contributed to this report.

This popular tourist town started as a small fishing village and is now an iconic British location

Summer is here and the temperature is rising. If you’re like me and live in a city with no easy access to the beach, fleeing the urban sprawl for a seaside town is a very tempting idea. It was this idea that struck my boyfriend and I a few weeks ago when we decided to get out of London for the day and head to the coastal city of Brighton for some fresh air and sunshine.

I had visited before, but never as an adult. On the weekend we decided to take our trip, temperatures in London were forecast to soar above 30°C, and it felt like the perfect excuse to escape the capital and breathe in some fresh sea air.

Brighton may now be one of the UK’s best-known seaside destinations, where millions flock every summer but it didn’t always feel that way.

From fishing village to tourism hotspot

In the 18th century this once small fishing settlement began to become a tourist destination for Britain’s wealthy. At the time, there was a belief that sea air, bathing in the ocean and even drinking seawater could have health benefits – and so Brighton became one of the UK’s first wellness retreats.

It was also a favourite of King George IV who created the Royal Pavilion – one of the city’s most iconic landmarks.

He’s not the only member of the elite who loved Brighton.

The city’s mix of history, creativity and seaside charm continues to draw artists and performers and it is easy to see why.

The city of Brighton has long since been a haven for famous creatives. From DJ Fatboy Slim to Oscar winner Cate Blanchett, Brighton has been home to all sorts of famous people.

When the railway arrived in the 19th century, it became more accessible for people from London (like my boyfriend and myself) which helped Brighton become even more popular now.

Today, Brighton is still an incredibly popular place to visit – and the railway is still letting Londoners flock to the sea in droves, as we found out.

Joining the crowds

The moment my boyfriend and I arrived at London Bridge to catch our train,it became abundantly clear we had no chance of getting a seat. It seemed almost everyone in London had decided to spend the day by the seaside.

The carriages were so rammed that the train bypassed several stops and took us directly to Brighton. As we travelled towards the coast alongside droves of heat-weary Londoners, I quickly realised that spending the day on the beach was not at the top of my agenda.

For one thing, I hadn’t brought a swimming costume. For another, I’m from New Zealand, where beaches are often made up of pristine white sand and, even at the height of summer, can be blissfully quiet.

The prospect of squeezing onto Brighton’s pebbles alongside thousands of strangers held absolutely no appeal.

Instead, we hopped off our train and headed for North Laine.

And escaping them

Tucked away in the heart of Brighton, North Laine is a vibrant maze of colourful streets and winding lanes packed with independent shops, boutiques, cafés and restaurants.

While much of the bank holiday crowd had gravitated towards the seafront, North Laine felt noticeably calmer.

We wandered through the lively streets, dipping in and out of shops as we went. There was everything from jewellery and homeware to driftwood art and vintage clothing, with something to suit almost every taste.

For me, it was the perfect way to while away an afternoon — and a far more appealing alternative to fighting for a patch of pebbles.

After a few hours of browsing, we had worked up an appetite and began the hunt for somewhere to eat.

We settled on Mange Tout, an independent French restaurant tucked away in North Laine.

Having travelled from London during a bank holiday heatwave, we had prepared ourselves for a scramble to find a table or the prospect of being added to a lengthy waiting list.

Instead, we had our pick of tables.

We sat outside in the glorious sunshine, watching the world drift by. It felt worlds away from the mayhem we knew was unfolding on the seafront.

For lunch, my boyfriend ordered a breakfast bun while I tucked into moules marinière. We washed it all down with a couple of drinks — we were on holiday, after all.

Seeing the sea – and the surprise cost

After lunch, we decided we couldn’t visit Brighton without at least catching a glimpse of the sea.

We made our way back through North Laine towards the coast, stopping in several shops we had overlooked during our first walk.

Eventually, the ocean came into view.

I had expected the beach to be busy, but the sheer number of people sprawled across it had to be seen to be believed.

As far as the eye could see in both directions, the pebbled shore was packed with sunbathers, paddlers and groups sheltering beneath umbrellas.

Out at sea, jet skis darted back and forth while one particularly intrepid snorkeller ventured further and further from the shore.

In the distance, the outline of a wind farm stretched across the horizon. Curious to get a closer look, we decided to head down the pier.

Entry to the pier cost £1 each — another surprise — and as we made our way along it, we passed through an enormous arcade roughly halfway down. It was one of two arcades on the pier and, much like the beach, it was absolutely heaving.

The space was dark, deafening and so stifling that I felt as though I had tumbled straight off the pier and into the water below. Horrified, I quietly turned to my boyfriend and asked: “Why does this even exist? Who comes to the beach just to be inside?”

He immediately replied: “How often do you think the weather is actually good here?”

He had a point.

The pier was certainly an experience — although not one I would particularly rush to repeat. That said, if I were seven years old, I imagine it would feel utterly magical.

There were fairground rides, candy floss and doughnuts, all accompanied by the sound of waves lapping beneath your feet. Sadly, I’m 31, and the thrill of a fairground ride is well and truly lost on me.

Will I ever return?

Once we reached the end of the pier, we agreed it was time to make our way back to London.

But not before making one final stop in North Laine for a well-earned end-of-day pint.

Brighton’s beach may be its biggest draw, particularly when temperatures climb above 30°C, but for me, the city’s real charm was found away from the packed pebbles.

And while I may not have been tempted to join the crowds on the beach, I’ll happily return to explore more of Brighton’s vibrant streets.

NBCUniversal’s Peacock is stretching its wings by joining the subscription YouTube Premium service — a significant boost for the streaming platform that has struggled to find its niche in the increasingly crowded landscape.

NBCUniversal and YouTube on Monday announced the multi-year partnership. Beginning early next year, Peacock will be available as part of YouTube Premium’s U.S. subscription bundle, which also includes ad-free videos and music.

The pact represents Peacock’s largest wholesale distribution agreement to date, one that will introduce the service into millions of new homes.

On Friday, NBCUniversal owner Comcast disclosed the service had finally reached profitability in the second quarter after billions of dollars of investment.

The important benchmark comes as Comcast prepares to spin off NBCUniversal entertainment and news media businesses into a separate company. Peacock, which launched in 2020, grew its paid subscribers by 4% to 48 million in the second quarter, compared to the first quarter.

Comcast has long tried to make Peacock an asset for its Xfinity broadband and cable TV subscribers, but recently began to expand its partnerships in recognition that consumers were getting overloaded with pricey choices.

As part of the agreement, NBCUniversal’s linear television channels will remain on the YouTube TV service.

“This partnership brings NBCUniversal’s world-class content and iconic franchises to YouTube’s unmatched scale and global platforms,” Mike Cavanagh, NBCUniversal’s chief, said in a statement. “We’re excited to deepen our relationship with YouTube through a collaboration that reflects our strategy of partnering with industry leaders to drive sustained growth for NBCUniversal.”

The deal will give YouTube, owned by Google, a bevy of sports, including NFL football, NBA basketball, soccer and Major League Baseball.

“We’re incredibly excited to expand our partnership with NBCUniversal to redefine what a modern entertainment subscription can be for consumers,” YouTube Chief Executive Neal Mohan said in the statement. “YouTube Premium brings your favorite creators, artists and cultural moments together uninterrupted, and now, we’re pairing that ultimate viewing experience with Peacock’s expansive lineup of live sports.”

Kevin Lyman has always lived life on the move. For years it was a symptom of working to keep up with Warped Tour, a punk rock circus on wheels. Since bringing the festival back last year to celebrate its 30-year anniversary, he’s switched his mode of transport from buses to planes. What started as a two-month tour across the U.S. and parts of Canada is now a strategically placed, five-date extravaganza starting this weekend in Long Beach. With stops in Montreal, Mexico City, Orlando and Washington, the tour has gotten bigger with the partnership of EDM promoter Insomniac but Lyman insists that the soul of it remains the same.

Thriving on a mix of punk, emo, ska, hardcore, metal and action sports, Warped has become an entry point to festival culture for a new generation of fans, requiring Lyman to always move forward in his musical tastes while still trying to stay true to the essence of what made Warped more of a community than just an annual event.

Recently he chatted with The Times to discuss the process of continuing the fest’s revival and why it’s still a vital part of the summer festival ecosystem.

What were your initial thoughts after Warped Tour’s big comeback in Long Beach last year?

I was really nervous. To be honest, I knew I had one shot at getting it right. I knew there were going to be bigger stages, we were going to have video and lights, but I also knew that I had to make it feel like Warped Tour between the performances. So that little bit of controlled chaos we had between the stages — the merch tents, all the sponsorship booths, the skate ramps, the surprises we threw out each day — I think it was mission accomplished. The feedback overall has been fantastic from the fans. For some people closer to my age demo, maybe it was a little too much — their feet hurt. But Warped came back strong, we went back on sale [for 2026] fairly quickly, and to still have 50% of the people buy the tickets right away without knowing a band on the bill yet was great.

Jimmy Eat World is doing like their 25th anniversary of “Bleed American” at the fest this year. What does it mean to you to have some of those early Warped Tour bands like that on the bill again?

It felt good to have a lot of those bands. For me, one of the more emotional ones last year was Rise Against. They had such a big moment. They were such a part of Warped Tour, and you get them to come back and then watch that crowd, every phone went up in the crowd, and probably 50% of the people there had never seen them before.

“I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people,” Lyman says. “Warped is a great niche.”

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You’ve always had your own way of doing things that created the culture of Warped Tour. Why do you feel it is still so vital in the festival ecosystem today?

I had to carve a niche out for myself in the industry. I was never going to really quite conform. I kind of came from that rebellious spirit that Goldenvoice instilled in me back in the ‘80s when I worked for them, and Gary Tovar was rebellious. So I’ve always kind of had that mentality of, “Hey, let’s go against the norm. Let’s make it something our own.” And even when I’m teaching at USC now, I say you have to learn the foundations of every business. And those foundations, to me, were working 12 years in the clubs of L.A., 320 nights a year, and then you have to make something your own. I always say when you decide to go for it — go for it. And I did, and it seemed to connect with enough people and resonated with enough people that I’d been around that said, “Wow, this is different. He needs to work on it. But instead of knocking him down, let’s support him.”… I’ve been a disruptor, and the disruption I’ve caused has attracted enough people. Now we’re a niche of people. Warped is a great niche.

How did you keep Warped on people’s minds year-round while you were planning it out this year?

That was a challenge because before we used to have the two-month tour, so we were able to build community to keep the conversation going. Community is a big driver for me. Everything we’re doing now is investing in the community, and I think it’s working. [In January] we had a downtown Long Beach event with the band Holy Wars, we had an event in Orlando. We had one event in a fraternity house backyard in Virginia, we had events in Mexico City and Montreal … canned food drives, blood drives or, you know, register to vote. We’ll drop those kind of events so we’re constantly in everyone’s mindset. And it’s not about monetizing. I think people are always asking “How do you monetize the superfan?” I’m like, “How do you reward them?” Giving people a free Sunday afternoon event in Long Beach, that’s a thank you. Those are the people that are going to spread the word when you post a video, they’re going to share it with all their friends, and then they’re going to be telling kids at their schools. A third of the people going to Warped had never been to a festival or even a concert before, so we need to engage them in a different way.

What are your ways of scouting out bands you want to take a chance on when booking the festival?

Well, I have a great booker named Amanda Phelan. She books with me, so she’s kind of that on the ground talking to the agents and things. I don’t necessarily do that much anymore. I talk to them, but my part is more like, “Oh, I want to see what bands other bands are talking about, or young people are talking about.” And then I’m also talking to lots of the independent promoters out there that you know I used to work with.

Why do you think younger generation of fest goers will keep discovering Warped Tour?

We used to be that festival where you know it was over by sunset, your mom could pick you up at the curb or you could get home by dark, and then you went off to other festivals. We were your entry point to festivals. We may be that entry point again, but a lot of it now will come down to price point. We know the economics of Warped Tour are conducive for people that want to go on two levels: ones that want to come and explore a festival, and other ones, maybe some of your peers, who don’t get to go out every night and see bands anymore because they all have real jobs and things. But they can go for one for two days and catch up on all music, which makes you feel like you’re staying young.

July 23 (UPI) — President Donald Trump said on social media Thursday that Saudi Arabia must sign the Abraham Accords as part of its nuclear deal with the United States.

Trump added that the nuclear deal will be approved but Saudi Arabia’s entry into the Abraham Accords is a required condition.

“The Civil Nuclear Deal (There will be no enrichment of material!) being made between the United States Department of Energy and Saudi Arabia, which pertains only to non-military use such as the ones that Iran and UAE (and others) already have, will be approved, but it is totally subject to Saudi Arabia joining the very respected and successful Abraham Accords,” Trump wrote. “The United States is not opposed to Civil (Non-Enriched) Nuclear Facilities.”

Energy Secretary Chris Wright and Saudi Energy Minister Prince Abdulaziz bin Salman signed the agreement on Wednesday. The Department of Energy says U.S. companies will benefit from the deal with involvement in establishing nuclear facilities in Saudi Arabia to the tune of billions of dollars.

The nuclear deal is to last 30 years and will involve the United States supporting Saudi nuclear development.

The Abraham Accords are meant to normalize relations between Israel and Arab nations in the Middle East, including the United Arab Emirates. Saudi Arabia’s entry into the Abraham Accords would be a step toward a diplomatic relationship with Israel.

Saudi Arabia has called for progress toward Palestinian statehood, a sticking point that has drawn Israel’s criticism of the nuclear deal with the United States.

Lawmakers on both sides of the aisle have also voiced skepticism over the nuclear deal, fearing that it may ultimately lead to the enrichment of uranium and plutonium for the development of nuclear weapons.

“This agreement will set off a nuclear race in the region, further disincentivizing Iran from limiting its own program,” Sen. Chris Murphy, D-Conn., posted on social media.

Over the weekend, the Academy Museum announced that it will honor Mexican and Mexican American film history in an upcoming exhibition titled “Cinelandia: Celebrating Mexican American Cinema.”

Currently scheduled to open in September 2027 — likely to coincide with the onset of Hispanic Heritage Month — the showcase will span from the silent film era to the present day and examine movies from both sides of the border.

The idea for the exhibition was first discussed back in 2019 and work on it officially began in late 2022, Academy Museum associate curator Sophia Serrano told The Times.

“It grew from a previous research and programming project we did as part of the Getty Foundation’s Pacific Standard Time: Los Angeles x Latin America initiative, before we opened the Academy Museum in 2021,” Serrano said.

The display will focus mostly on Mexican American cinema, but examines those films in conversation with Mexican features and other Spanish-language movies, made both in Hollywood and internationally.

Films included in the exhibit will be Day of the Dead flicks like “The Book of Life” and Disney’s “Coco” — as well as the Spanish-language version of the 1931 horror classic “Dracula,” plus director Luis Valdez’s “La Bamba” and “Zoot Suit.” Three groundbreaking works by Gregory Nava will also be honored: the Oscar-nominated “El Norte,” “My Family/Mi Familia” and the Jennifer Lopez-led biopic “Selena.”

Among the classic Mexican films included are the 1932 film “Santa,” which was the first Mexican narrative sound movie, as well as 1946’s “Enamorada.” Features from Mexico’s Oscar-winning “three amigos” of cinema — Guillermo del Toro, Alfonso Cuarón and Alejandro Iñárritu — will also be highlighted.

Along with curator Serrano, “Cinelandia” is guided by a 12-person advisory panel: cartoonist  Lalo Alcaraz; UC Santa Cruz professor emeritus Rosa-Linda Fregoso; LACMA curator and head of contemporary art Rita Gonzalez; animator-director Jorge R. Gutiérrez; writer-director Cristina Ibarra; Pitzer College professor Jesse Lerner; director-writer Carlos López Estrada; University of Arizona assistant professor Orquidea Morales; director Gregory Nava; UCLA professor Chon Noriega; University of Texas at Austin professor Charles Ramirez Berg; and USC professor Laura Isabel Serna. 

Given that L.A. County’s population is almost 50% Latino, Serrano noted that part of the exhibition’s aim is to connect to the millions of Latinos in the county and show how they’ve been critical in informing the cultural landscape of L.A.

“Mexican American cinema is … a big part of Los Angeles’ history,” Serrano said. “We want this exhibition to connect with the broader Los Angeles community, as well as illuminate the history behind many of the beloved films from Mexican American and Mexican filmmakers. The exhibition is designed to offer something for everyone and bring people of all ages and backgrounds together to celebrate this important cultural heritage.”

As with previous exhibitions centered on minority populations, the Academy Museum won’t be shying away from the uncomfortable truths around Latinos in Hollywood — from the demographic’s stereotypical portrayals in film to its underrepresentation in the industry that continues to this day.

“Many of the films and artists featured in the exhibition draw attention to or push against these challenges in a variety of ways,” Serrano said. “A guiding principle of the exhibition is foregrounding the voices of film artists themselves via interviews, written quotes, and guest curations and collaborations alongside the hundreds of original objects that will go on display, and this aims to tell an earnest and engaging story about this history.”

“We are also aiming to show how vast the contributions of Mexican American artists are, and these histories are often unknown or underrecognized. It’s essential that the exhibition celebrates these moments of impact and influence in a dynamic and educational manner.” 

“Cinelandia” isn’t the museum’s first foray into identity-based exhibitions centered on underrepresented populations. In 2022, the museum opened the “Regeneration: Black Cinema 1898-1971” exhibition which highlighted the work of Black creatives from filmmaking’s early days through the civil rights movement. The showcase — which closed in April 2023 — tackled such themes as the representation of Black people in early cinema (1897-1915), the era of “race films” made by Black filmmakers for Black audiences (1910s-1940s), musical films and stories born of the civil rights movement.

The museum’s ongoing showcase titled “Hollywoodland: Jewish Founders and the Making of a Movie Capital,” explores the stories of the Jewish filmmakers and studio founders who helped cement the L.A. area as the world capital of entertainment.

In the latest salvo in the war between the Trump administration and California, Health and Human Services Secretary Robert F. Kennedy jr. said Tuesday that his agency withheld $867.5 million in Medicaid payments to the state over concerns about fraud.

Kennedy also said his agency defered $199 million in Medicaid payments to Minnesota over similar concerns.

“If Gov. Gavin Newsom or Gov. Tim Walz wants this funding released, all they have to do is provide basic documentation showing that these services are legitimate and not fraudulent,” Kennedy said at a news conference.

Just under half of the funds withheld from California were in connection with in-home health services.

Dr. Mehmet Oz, the administrator for the Centers for Medicare and Medicaid Services, said California’s spending on in-home health services went up by more than double the national average over the last two fiscal years.

“That doesn’t make sense,” he said.

About a quarter of the funds withheld involved care provided to individuals with “unsatisfactory immigration status,” whose eligibility to be in the country and receive these services is in question, which Oz characterized as an “ongoing massive problem for California.”

The announcement by Kennedy and Oz on Tuesday comes two months after Vice President JD Vance announced that the administration would be deferring $1.3 billion in Medicaid payments over fraud concerns, largely connected to hospice services and in-home healthcare.

Newsom’s office, in a social media post, called the announcement a “recycled political stunt.”

“California isn’t being targeted because Trump has evidence of fraud,” the post said. “We are being targeted for political reasons — and because Dr. Oz doesn’t understand that we are *SAVING* taxpayers money by keeping seniors and people with disabilities out of far more expensive nursing homes!”

Newsom’s office also said that the state stands “ready to collaborate” with the Centers for Medicare and Medicaid Services “in good faith efforts to combat fraud.”

The office of California Atty. Gen. Rob Bonta said it is reviewing the deferral of payments and allegations of fraud.

“We have not hesitated to challenge unlawful actions by the Trump administration, and we will continue to act whenever Californians’ rights or access to critical services are threatened,” Bonta’s office said.

Despite Newsom’s claims that the accusations are political, the California state auditor has repeatedly flagged Medi-Cal eligibility discrepancies that have exposed the state to billions of dollars in questionable payments.

California Department of Healthcare Services spokesperson Anthony Cava noted, however, that a 2020 state audit of in-home care found “no program integrity concerns” and encouraged expansion of the program to reduce spending on institutional care.

Cava also pointed out that the federal government had previously approved California’s approach to in-home care.

Newsom and Oz have clashed before.

Newsom filed a civil rights complaint in January against Oz, after Oz posted a video to social media from Van Nuys in which he accused the “Russian Armenian mafia” of being a leading driver of $3.5 billion in fraud in hospice and home-care services.

Newsom said that Oz’s claims were “baseless and racist.”

The announcement by Kennedy and Oz on Tuesday is the latest effort by the Trump administration to crack down on suspected Medicaid fraud in numerous states across the country.

Colson Whitehead’s latest foray into the bent world of “reluctant fence” Ray Carney — “Cool Machine,” the third and final installment of his Harlem Trilogy — is an American epic disguised as a heist novel. It’s a dizzyingly brilliant measure of the versatility and depth of the acclaimed author’s literary talent.

After writing two books dealing with monstrous historical trauma and institutional abuse — “The Underground Railroad” and “The Nickel Boys,” for which he won two successive Pulitzers — Whitehead pivots to an entirely new genre, subverting it, toying with it, making it wholly his own. And while the Harlem novels, too, have a great deal to say about serious subjects such as systemic racism, corruption, and crimes and misdemeanors of various proportions, they often lean on humor to get the message across.

In fact, it’s easy to envision the author at his laptop, as exhilarated as his prose, cracking himself up over how he bends language, employs slang, and forges descriptions like this one about a bar where Carney and a partner in crime conspire over how to fence a stolen diamond necklace: “He met Flinch Wilson at the Marlin, a narrow dive on 110th and Broadway with a decor inspired by an old leather shoe that lived in a drainage pipe.” Or this about a rival who has it out for Carney and his cohorts: “Buzz struck him as a plumber, one who comes back when you aren’t home to strangle your parakeet if you stiff him on the bill.”

“Cool Machine” is set in the 1980s, and Carney is still in the picture. It’s the Reagan era, and predatory capitalism rules, as does Mayor Giuliani, who’s waged war on the mafia and the homeless. What Whitehead dubs the “churn” roils the city and his protagonist. It’s that “churn” that beckons Carney to break his promise to himself and once again divert from his legit furniture store business. The excuse this time is that his wife Elizabeth wants to open her own travel agency, and can’t get a bank loan. Despite the couple’s closeness, for all these years her husband has managed to conceal that he’s a part-time crook. He desires respectability, but savors the buzz, the camaraderie — the honor among thieves. Carney falls in with criminal mastermind Uncle Rich and signs on to his outrageous plan to break into the Waldorf Astoria; the goal is to liberate Jesse Owens’ Olympic gold medal from those who forced him to cash it in.

The intricacy with which Whitehead details the planning and execution of this caper marks him as a top-tier researcher — he’s drawn on many primary sources to ground this work of fiction in historical fact. (There’s also his obsessive use of Pinterest.) The scenes set in the bowels of Grand Central, where there’s a secret train track leading to the Waldorf, are thrilling enough to read for their action, but the atmospheric descriptions are equally delectable: “Track 23’s next departure pulled into the station. One commuter joined Carney and Uncle Rich on the platform, a deflated man in a pinstripe suit with shiny elbows, then another businessman who sagged on one side, as if his briefcase was filled with lead weights.” One of the marvels of this novel is how effortlessly such sentences land, despite being honed to perfection. It would be a spoiler to say anything further about whether the thieves’ mission impossible yields their reward.

Part two of the novel shifts downtown, into the heart of the ’80s East Village art scene. A preoccupation of Whitehead’s — Jean-Michel Basquiat — is the inspiration for a fictional graffiti artist whose omnipresent scrawls capture the pretensions of the burgeoning wheelers and dealers, who, like uptown crooks, are relentless strivers, albeit with sleeker facades. Their snobbery is juxtaposed with Carney’s friend and colleague Pepper’s unsettling bluntness and eyeball to eyeball stare. He’s on the trail of a psychopath-for-hire dubbed “the Melancholy Hitman,” while battling stomach issues that have him downing Pepto-Bismol and coughing up blood in random bathrooms. In this section, Carney plays a supporting role to Pepper’s lead; “Escape from New York” is the enveloping soundtrack.

In the novel’s final act, Carney reemerges from straight life and Pepper from retirement in Delaware to rescue Carney’s nephew, Robert, who’s on the mob’s hit list for a murder he witnessed. Political corruption is rampant, and the revelation of who’s on the take has rattled a lot of cages. Robert is unwittingly entrapped, and has absconded with something mob bigwig Lombardi wants revenge for. Carney dons his best furniture salesman hat to make the pitch of a lifetime, a deal that could save Robert’s life, or take Carney’s. As Carney drives to the meet-up, he reflects on New York’s evolution: “Crime transformed the city by degrees. He thought of what John [his son] told him about rap music, where it came from. Rap was part of the New York environment now, barging from boom boxes and windows. They created something new from the spoils, the theft of turntables from record shops, the rip-off of a musical line or riff from another song — a crooked art.”

For those who enjoy knowing how an author’s inspiration arrives, it’s amusing to note that in the case of the trilogy that kicked off in 2021 with “Harlem Shuffle,” Whitehead told the New Yorker: “I was staring off into space and thinking about how much I like heist films and how much fun it would be to write a heist.” That sounds simple enough, but “Harlem Shuffle” turned out to be years in the making. The idea initially came to him around the same time he was writing “The Underground Railroad,” which was published in 2016. It wasn’t until after the release of that book, and then “Nickel Boys,” that Whitehead decided to lighten the mood by composing a crime novel set in New York City in the 1960s. And while he usually avoids staying on the same topic or voice from book to book, in the midst of writing “Harlem Shuffle,” Whitehead found he was still imagining further escapades for his main character, this time in the 1970s, with the city on the verge of bankruptcy, and incendiary conflagrations between the NYPD and the Black Liberation Army trending. As he envisioned what would become “Crook Manifesto,” Whitehead thought: “Why not make it three?”

Carney is part poet. Part crook. Part salesman. Part philosopher. To my knowledge, Carney’s creator is neither crook nor salesman, but Whitehead can lay claim to those other two mantles. His vocabulary appears boundless, as does his apparent love for the city he grew up in, where he still lives. “Cool Machine” is a modern masterpiece and an ode to New York, no matter that rats skitter and cockroaches scamper underfoot. When Carney has the chance to move anywhere in the world he wants, he ponders the appeal of fresh air. “Fresh was nice,” he reflects, “but so was other stuff. Noise, dirt, and struggle.” After escaping Manhattan, he wonders, “Where do you go? There’s no place else. It was like going on the lam from yourself.”

Whether or not New York is your jam, or a place you have escaped from or to, Whitehead’s Harlem Trilogy is destined to live on as an American classic. Never mind the rats and cockroaches — it’s the churn.

Haber is a writer, editor and publishing strategist, and co-founder of the Ink Book Club on Substack. She was director of Oprah’s Book Club and books editor for O, the Oprah Magazine.

On Monday, more than 40 fake trophies were stacked at the base of a 10-foot-tall “Iran War Participation Trophy” made for President Trump and placed on the National Mall by the anonymous satirical activist group Secret Handshake.

The large golden trophy is part of a growing trove of protest art pieces erected by the group since Trump was reelected to his second term in office. Previous installations, which have all received the necessary permitting for legal display, include one of Trump and convicted sex trafficker Jeffrey Epstein holding hands, and a playable retro video game called “Operation Epic Furious: Strait to Hell.”

The new participation trophy is equipped with a plaque that reads:

“We hereby award President Donald J. Trump this participation trophy for his enthusiastic involvement in the Iran War. While some concern themselves with military strategy, diplomacy, or measurable outcomes, President Trump demonstrated the courage to participate regardless of the final score.

As recipient of this prestigious award, President Trump joins the ranks of children everywhere who receive recognition for simply showing up. We join you in celebrating this remarkable achievement.”

Secret Handshake noted in a letter to The Times that the installation serves as the nation’s first official “Donald Trump Trophy Donation Center, encouraging the public to drop off their own personal trophies, medals, and ribbons at the base of the monument for The President to claim as his own. Together, we hope that if enough trophies are donated he will be perceived as a winner and not feel the need to bomb other countries.”

A representative for Secret Handshake said the dozens of donated awards include certificates, trophies, medals, a wrestling belt and a Kennedy Center sash.

“I’m really thrilled to see people taking an active interest in joining in and bringing their own creativity and having their own voice heard by adding trophies to the base of this instillation,” the representative wrote in an email. “I think it’s exciting and I think when people can take a moment to tangibly express their opinion about this government’s war it helps to create a reminder that we aren’t alone. This isn’t normal. This shouldn’t just be accepted at face value.”

One of the best offerings is titled, “First Place in ‘I Know a Pool guy,’” and reads in part, “Participation trophy for Donald Trump in recognition of his renovation of the nation’s historic reflecting pool to more clearly reflect his efforts to criminalize the touching of a public monument in order to cover up the damage he caused …” The award also recognizes Trump’s “development of American Flag Blue pool liner, which he said was indestructible (unless cut by left wing radical terrorist vandals).”

Secret Handshake has extended an offer to “hand deliver both the participation trophy and all smaller trophies to the Trump Administration for The President’s glowing collection of fake accolades.”

I’m Arts editor Jessica Gelt taking First Place in time wasted mulching my garden in the heat. This is your arts and culture news for the week.

The week ahead: A curated calendar

FRIDAY

“Etai & Felipe Pantone: Parallel Practices: Tailored Structures & Kinetic Surfaces” at albertz benda.

Etai & Felipe Pantone
“Parallel Practices: Tailored Structures & Kinetic Surfaces” combines Pantone’s wall-based artworks and a series of collaborative design pieces to challenge ideas of use, intimacy and lived experience, placing each work in the interconnected artistic system.
Opening, 6:30–9:30 p.m. Friday; exhibit continues through Aug. 8. albertz benda, 8260 Marmont Ln. albertzbenda.com

New Swan Shakespeare Festival
The Bard is back in the O.C. at the troupe’s open-air, Elizabethan-style portable theater with “The Merry Wives of Windsor Cove,” a musical adaptation set in a 1950s SoCal beach town, in repertory with “Romeo & Juliet,” the classic tragedy reimagined amid the scarcity of the Dust Bowl.
“Merry Wives,” 8 p.m. Friday, Saturday, Thursday and various dates through Aug. 30; “Romeo,” 8 p.m. Sunday, Wednesday and various dates through Aug. 29. New Swan Shakespeare Festival, Inner Ring Road, UC Irvine. newswanshakespeare.com/

SATURDAY

“Cyrano” at the Old Globe, San Diego.

(Ben Wiseman)

Cyrano
An irreverent take on “Cyrano de Bergerac” by Edmond Rostand, adapted by Jason O’Connell and Brenda Withers, directed by Annie Tippe.
Previews, 8 p.m. Saturday; 7 p.m. Sunday, Tuesday and Wednesday; opening night, Thursday, 7 p.m.; continues through Aug. 9. The Old Globe, 1363 Old Globe Way in Balboa Park, San Diego. TheOldGlobe.org

F**king Strangers
The world premiere of a dark comedy about love and loneliness by Erik Patterson, directed by Chris Fields.
Previews, 8 p.m. Friday; 8 p.m. Fridays and Saturdays; 4 p.m. Sundays; through Aug. 24. Echo Theater Company, Atwater Village Theater, 3269 Casitas Ave. echotheatercompany.com

Yoko Ono’s ‘Sky Piece to Jesus Christ’ + ‘Cut Piece’
A six-piece classical music ensemble from the Los Angeles Chamber Orchestra will be gradually wrapped in gauze until the musicians can no longer play their instruments in “Sky Piece,” first presented to the public by Ono at Carnegie Recital Hall in New York in 1965. In “Cut Piece,” performed by artist MPA, the audience will be invited to cut away pieces of the artist’s clothing to take with them while the artist sits silently onstage. The performance was premiered by Ono at Yamaichi Hall in Kyoto in 1964.
6 p.m. Saturday; 2 p.m. Sunday. REDCAT, 631 W. 2nd St., downtown L.A. redcat.org

Marvelous Musicals
Professional and student dancers perform numbers from classic shows to modern favorites.
6:30 p.m. Irvine Barclay Theatre, 4242 Campus Dr. thebarclay.org

Koak, “Portrait of Myself, the Shell,” 2024. Flashe and acrylic on linen; diptych. 74 x 118 inches

(Photo by Chris Grunder. Courtesy of the artist and Perrotin.)

Summerlove Sensation
A group show featuring Isabelle Albuquerque, Alex Anderson, Mustafa Ali Clayton, Gregor Hildebrandt, Susumu Kamijo, Rae Klein, Koak, Asuka Anastacia Ogawa, Katherina Olschbaur, Jean-Michel Othoniel, Andrew J. Park, Gahee Park, Aya Takano, Honor Titus and Pilar Zeta.
Opening, 6-9 p.m. Saturday; exhibition continues through Aug. 28. Perrotin Los Angeles, 5036 W. Pico Blvd. perrotin.com

A Weekend With Robert Rodriguez
The multi-hyphenate filmmaker will be on hand for anniversary screenings of “From Dusk Til Dawn” (1996) and “Spy Kids”(2001) with the filmmaker in person and performing with his musical groups, Chingon Band and The Rodriguez Family Spy Band.
“From Dusk,” 7 p.m. Saturday. “Spy Kids.” 2 p.m. Sunday. Academy Museum, 6067 Wilshire Blvd. academymuseum.org

SUNDAY

Tensions, Personified
Readings of four short plays by John Binder are presented as part of the Odyssey’s Thresholds of Invention series.
4 p.m. Odyssey Ensemble Theatre, 2055 South Sepulveda Blvd. odysseytheatre.com

TUESDAY

Ann Noble, left, and Robin McDonald in “Dead Man.”

(Carolina Rodriguez)

Dead Man
Ann Noble writes, directs and performs in this clown noir murder mystery co-produced by Theatre Ghosts. Co-starring Christian Haines, Jeffrey Johnson and Robin McDonald.
8 p.m. Tuesdays, through Aug. 4. Echo Theater Company at Atwater Village Theatre, 3269 Casitas Ave. echotheatercompany.ludus.com

UCBackrooms
A one-night-only immersive, participatory comedy experience turns the Upright Citizens Brigade Theatre into an escape room.
Shows begin every 15 mins., 6-7:30 p.m. Upright Citizens Brigade Theatre, 5919 Franklin Ave. ucbcomedy.com

THURSDAY

Falsettos
The O.C. theater company The Wayward Artist presents William Finn and James Lapine’s Tony Award-winning, sung-through musical set in 1979 and 1981 about a Jewish man who leaves his wife and son for his male lover, and the ensuing upheaval to their lives.
8 p.m. Thursday, July 24-26 and July 30-Aug. 2. Irvine United Congregational Church, 4915 Alton Pkwy. thewaywardartist.org

Arts anywhere

Jason Huber, from left, Scott G. Jackson and Dana Dewes in “The Price” at Pacific Resident Theatre.

(Ian Cardamone)

The Price
The critically acclaimed production of the Arthur Miller drama at Pacific Resident Theater closes this weekend. “‘The Price,’ directed by Elina de Santos, thrives in the intimacy of Pacific Resident Theatre’s main stage,” wrote Times theater critic Charles McNulty when he reviewed it in April. “There’s not a moment in the play that isn’t deeply inhabited by a cast that understands the value of listening.” But don’t worry if you are unable to make it to the Westside. The final two shows will be available from the League of Live Stream Theater for $35, which includes a 24-hour on-demand replay.
2 p.m. Saturday; 3 p.m Sunday. Pacific Resident Theatre, 703 Venice Blvd., Venice; streaming at lolst.org/theprice

— Kevin Crust

Culture news and the SoCal scene

Miller Friedman, Ashley Maimes, Jonathan Blandino and Torianna Turnbow in Shakespeare’s “A Midsummer Night’s Dream” at Will Geer’s Theatricum Botanicum.

(Ian Flanders)

Summer is the ideal time to see theater out of doors (well, maybe not this broiling week, but at other times), and Times theater critic Charles McNulty has compiled this breezy list of “11 enchanting places to see outdoor theater in Southern California.” Spoiler alert: Shakespeare is well-represented, but remember, the Bard’s work was originally staged in an open-air theater.

McNulty also headed to Pasadena Playhouse for the opening of the two-person hip-hop musical “Mexodus,” which tells the little-known story of an Underground Railroad route to Mexico. McNulty was taken with the show, which arrived at the Playhouse after its award-winning off-Broadway run, calling it “hands down the most charming, innovative and warmly embracing new musical I’ve seen in the last year.”

Artist Betye Saar is photographed at her home in Laurel Canyon on Tuesday, June 30, 2026.

(Christina House/Los Angeles Times)

Betye Saar turns 100 on July 30, but the famed artist is still more interested in creating new work than discussing her groundbreaking legacy. Times contributor Tara Anne Dalbow wrote this lovely profile of Saar after a visit to her vibrant home studio in Laurel Canyon. “There are certain people who redefined what was a very narrow definition of American art, and Betye is absolutely one of them,” curator Zoé Whitley told Dalbow.

Los Angeles County Museum of Art this week revealed that artist Vija Celmins and filmmaker Denis Villeneuve will be honored at its upcoming Art + Film Gala, the first to be hosted since the spring opening of LACMA’s new David Geffen Galleries.

Younes and Soraya Nazarian Center for the Performing Arts — better known as the Soraya — on the campus of California State University Northridge.

(The Soraya)

If you’re interested in buying single tickets to shows that are part of the Soraya’s upcoming season, now is the time. The venue just opened up its access from membership presale to the general public. Sutton Foster, Dance Theatre of Harlem and Audra McDonald are all making their Soraya debuts, as is the Los Angeles Philharmonic.

— Jessica Gelt

And last but not least

And you thought making the “Mona Lisa” out of Legos was hard. The company has now paired with Vienna’s Belvedere Museum to release a 4,000-piece Lego set of Gustav Klimt’s “The Kiss.” You can buy the set, beginning Aug. 1, for $299.99.

India joins a handful of countries that have successfully deployed the zero-emission technology in their rail networks.

India has launched its first domestically built, hydrogen-powered train, as it pushes its efforts to expand clean energy use.

Prime Minister Narendra Modi inaugurated the locomotive ahead of its first trip on Friday, hailing the event as a significant day for India’s drive to become self-reliant and sustainable. The introduction of the train sees India join just a handful of countries that have successfully deployed the zero-emission technology in their rail networks.

Dubbed the “NaMo Green Rail”, including an abbreviation of the PM’s first and last names, the train will make two return trips each day along a 90km route linking the cities of Jind and Sonipat, in the state of Haryana. The 10-coach train can seat about 2,600 passengers and can travel at speeds of up to 75km/h.

Designed, engineered and built in India, the NaMo produces only heat and water vapour when running, making it an attractive alternative to diesel.

While India has already electrified almost all of its 70,000km railway network, one of the largest in the world, hydrogen trains can plug the gap where electrification is not possible.

Other countries operating hydrogen-powered trains include Japan, China, the United States and Germany, which launched the world’s first hydrogen-powered fleet in 2022.

The rollout is part of India’s wider push to expand use of hydrogen and cut its carbon emissions, with the government aiming to make the country’s railways net-zero by 2030.

Prime Minister Modi has long pushed other clean-energy efforts too, from expanding renewables to advancing India’s nuclear energy programme.

While the country still struggles with enacting effective climate policy, the launch of NaMo Green Rail marks another step towards a green transition.

Two new stars will be joining the latest Celebrity Gogglebox line-up as they showcase their TV opinions on the popular Channel 4 show

Rock stars and longtime friends are joining the Celebrity Gogglebox sofa this week.

Making their debut on the show, Jake Shears and Josh Homme will give their opinions on the week’s biggest TV moments, combining their close friendship with their signature wit.

Best known for fronting Scissor Sisters and Queens of the Stone Age, Jake and Josh have spent years performing to huge crowds around the world and building careers that have sold millions of records.

This time, they’ll be watching from the comfort of the sofa, sharing their candid, entertaining reactions to the programmes that have everyone talking.

Talking about his appearance, Jake said: “Josh and I have spent years making noise for a living, so sitting on a sofa and talking over the television felt surprisingly natural. We laughed far more than we probably should have and somehow got away with calling it work. It was a longtime dream to be part of Celebrity Gogglebox.”

Meanwhile, Josh said: “You’ve never watched anyone watch TV until you’ve watched Josh and Jake watching TV. And then you know you’ve watched it. So set your watch for 9pm on Friday. We are breaking ground that should largely have gone unbroken.”

It’s a busy week for Queens of the Stone Age frontman Josh, as the band has unveiled plans for their new album, Everything Under The Sun.

The upcoming release marks the American rock group’s first studio album in three years. They also dropped the lead single, Easy Street, on Tuesday, featuring guest vocals from Nikki Lane.

Fans may already recognise the song after it made its live debut during the band’s Catacombs tour last year.

Elsewhere in the new series of Celebrity Gogglebox, singer Mollie King will be joined on the sofa by her partner, former England cricketer Stuart Broad.

Olivia Attwood has been taking part in the latest series alongside her mum, while her partner Pete Wicks has been appearing separately with his close friend Vicky Pattison.

The new season has also welcomed back a host of familiar faces, including Vernon Kay and Paddy McGuinness, Bez and Shaun, Roman and Martin Kemp, Ashley Banjo and Perri Kiely, Nick Grimshaw with his niece Liv, the Mangans, and Rylan, who once again joins his mum Linda on the sofa.

Celebrity Gogglebox airs this Friday at 9pm on Channel 4.

This double act of “Lancashire” locations is my final celebration of Britain’s bypassed towns. My native county has dominated my life of late, and one key question asked in these columns has been: can you holiday right at home?

The French author Xavier de Maistre believed you could fit a journey inside a single room. And in Instructions on How to Climb a Staircase the Argentine-French writer Julio Cortázar turned a walk upstairs into a quest. An entire county offers enough adventures to fill a life.

Touring seldom-trod places, I’ve witnessed a lot of regeneration and redevelopment, demolition and disappearance. Preston, my closest city, has a £45m leisure complex, a revamped museum and a new bridge over the River Ribble, with lots more planned. St Helens, my childhood town – proudly in historic Lancashire, but administered as Merseyside, and now part of the Liverpool city region – looks and feels like a drawing board at the moment. But both are changing for the better, if you look beyond the frayed fabric of their townscapes.

Preston

At first, I was struck by the city’s low-slung eastern edges, as if land had been cleared. It was simply that areas have been Americanised – all squat, boxed retail, yawning carparks, and ring roads. It left me feeling flat. But Preston began to grow on me the minute I stood beneath the extraordinary hypodermic spire of St Walburge’s church – the tallest parish church in the UK, designed by Joseph Hansom (of cab fame), and a testament to the strong Roman Catholic presence in “Priest’s Town”. Looking up signifies hope; doing it is primitive cognitive therapy.

Then I discovered the imposing Harris museum and gallery, which reopened after a £19m refurbishment last September. It’s become the place to go for art, local history, textiles, fashion, ceramics, coffee, library books – the ultimate rainy-day or, indeed, heatwave refuge. It’s a regional treasure (and perhaps the Ashmolean and British Museum might like to return the complete Cuerdale hoard, the largest Viking hoard found in England, unearthed beside the River Ribble).

I used the Harris a lot while doing jury service at the crown court and turned my walks to town from the park-and-ride into sightseeing tours. Highlights include the brutalist bus station and Guild Hall, built for an unrealised new town; the monument to the 1842 martyrs gunned down by infantry and coppers during the General Strike; the Victorian market hall and court and Miller Arcade; Winckley Square with its park and Georgian terraces; St Wilfrid’s, St John’s Minster, the Saint Alphonsa Syro-Malabar Cathedral.

Made a city in 2002, Preston has long been a place of power and influence. It’s where the cotton-town trail through east Lancashire begins, geographically and chronologically. Richard Arkwright, father of the factory system and co-creator of the water-powered spinning frame, was born here in 1732. Centenary Mill was built for the empire-spanning textile firm Horrockses, Crewdson & Co – its magnificent chimney was mammon’s shameless challenge to the churches; an annexe off the yard contains a magical emporium of antiques, and fixtures and fittings culled from mouldering mansions.

Industry, one way or another, led to many of Preston’s other inventions. Temperance and teetotalism, spearheaded by the nearby Walton-le-Dale’s Joseph Livesey, son of a clothier, were partly reactions to urban “immorality”. Professional football was what professional workers wanted on Saturdays. Preston North End was a founder member of the English Football League. Deepdale, on the same site since 1875, is one of England’s oldest grounds. Dick, Kerr Ladies, founded in 1917, was one of the first women’s teams.

I respect the temperance movement, but love the Black Horse – to me, Preston’s most beautiful old pub, with etched windows, fixed snug-like seating, gorgeous tiling and a rare ceramic bar. Trad spaces have been complemented by new food venues, with the cool Korean restaurant Kimji, authentic Spanish dishes at Pintxos and modern British at Aven.

When they hacked up counties in the 1974 local government overhaul, they accidentally made Preston a future “capital” of sorts. It’s beginning to live up to the billing.

A little bird (an old pigeon outside the Harris, actually) tells me Manchesterism is misnamed. The big central idea, of local authorities exerting control and investing in a place, comes from Preston – with local living standards rising fast as a result. Manchester’s former mayor Andy Burnham has acknowledged this. Prestonism may yet change Britain and the world, all over again.
Things to see and do: walk or cycle the 21-mile Guild Wheel, Tram Bridge, Preston England Temple and the Devil’s House on St Wilfrid Street, Ribble Steam Railway and Museum

St Helens

Till now, I had never been inside St Helens Minster, though I was born nearby. In my defence, it was just the parish church till May of this year, when the name was changed to reflect its role as mother-church of the whole community.

The town began here, with four ancient rural manors ranged around a chapel of ease where wayfarers could rest and pray. Windle, Parr, Sutton, Eccleston; old names that contain even prettier-sounding villages: Clinkham Wood, Thatto Heath, Nutgrove. St Helens was once fields. Then it was shops, pits and workplaces. Now it’s something else.

Two big things are unfolding to that end. One looks small on a map but is mightily symbolic. Conservation work is progressing at No 7 Cannington Shaw Bottle Shop. Built in 1886, there were originally nine such shops – factories – making up the largest glass bottle production site in the world. This lovely redbrick circular building, with a classic conical roof, is the sole survivor, occupying a rare patch of rough land beside a big Tesco and Saints’ flashy rugby league arena. Once tons of molten glass were heated here, with glassblowers scooping up gobs to skilfully inflate, shape and place in a mould to create bottles.

On the first Saturday of every month, No 7 Cannington Shaw Bottle Shop now hosts artisan craft markets, with a bar and food stalls. After serving as an air raid shelter and storage depot, the site was abandoned and was only spared demolition by happy accident. John Tabern, director of the project, says: “As an ex-glassman, it’s extremely important to me. I’m proud of St Helens and want people to know its story. But we must monetise it with gigs and markets and all those things.”

The other thing is large on the map, equally important, if less evocative. Following blitz-level demolition, a large area east and south of the town hall is being given a new bus station, homes, offices, a hotel, green spaces, piazzas and “revitalised retail spaces”.

They’re always knocking things down here. But the Gamble building will soon house a smart new library, youth space and offices. This and the town hall are solid examples of redbrick Victoriana. The Beecham’s building, built in 1887, cost a fortune at the time and is topped by a coquettish clock tower. Its founder, Thomas Beecham, began selling laxatives to costive Wiganers; St Helens, like a crucible, allowed his business to flourish. The smart St Helens college faces the former HQ and the marriage of old and new works well.

Reflection Court, the old Pilkington’s headquarters on Canal Street, has a streamlined brick facade, influenced by the architecture of the Dutch modernist Willem Marinus Dudok. The former Pilkington’s complex at Alexandra Park on the edge of town was built by modernist architects Jane Drew and Maxwell Fry – who collaborated with Walter Gropius and Le Corbusier. Everything seems to be earmarked for apartment conversions.

I leave town via the Book Stop community bookstore, which I have “shares” in and where I gave a talk on my recent Lancashire book earlier this year. With no prompting from me, the manager titled it “Don’t Call Us Merseyside”. The newer “Liverpool City Region” is equally unpopular. I pass a church that, as a child, I thought was huge and ominous. Renowned architectural historian Nikolaus Pevsner wasn’t overly keen on St Mary’s Lowe House Catholic church, but I like the competing Byzantine dome and gothic tower. It’s as if the architect couldn’t make up his mind. The brickwork is black – the patina of two centuries of factory fumes. I pass the Turks Head pub, routinely lauded by Camra, and FC St Helens, where the rugby league team played in the 1880s.

Finally, I come to St Helens cemetery and crematorium. I have been here too often this past couple of decades. St Helens was built on furnaces; this one is still busy. I head to an area beyond the neat ranks of modern gravestones, walking on a path that, from the sky, is heart-shaped. In the wooded corner stands St Helens most ancient structure: Windleshaw Chantry, dating from 1415, when this was open countryside.

Beneath it is a large tomb, with a flat tablet full of abbreviated words. Spelled out, they say, “Here lie the remains of Jean Baptiste François Graux de la Bruyere – He was the first Who brought to Perfection A Work of very considerable Magnitude And Importance To the Commercial Interest of the British Nation.” This immigrant from Picardy, who died in 1787, aged 48, is thought to be the hero who brought glass-making to St Helens. I’m sure he’d be pleased that the town is at last celebrating his legacy.
Things to see and do: World of Glass, The Book Stop, North West Museum of Road Transport, the Dream sculpture, Café Laziz

Hold the Bat Signal — “The Batman Part II” has been delayed yet again.

The DC Studios film is now set to hit theaters Feb. 18, 2028. The sequel to Matt Reeves’ 2022 reboot “The Batman” was previously slated to bow Oct. 1, 2027 after it was pushed back from its original release date of Oct. 3, 2025.

Reeves took to social media Wednesday to share the new date along with camera test footage from the film. The video, the first proper look at Robert Pattinson’s return as the Caped Crusader, shows him in a new Batsuit, turning toward the camera as what appears to be snow falls around him. There are also some flashing lights in the background.

The filmmaker has previously shared “The Batman Part II” casting news as well as a glimpse of the Batmobile in social media posts.

Many details about “The Batman Part II” have been kept under wraps, but here is everything we know about the upcoming sequel.

Which characters are returning?

In addition to Pattinson’s return as Bruce Wayne, “The Batman” alumni Jeffrey Wright, Andy Serkis and Colin Farrell will reprise their roles as James Gordon, Alfred Pennyworth and Oz Cobb (a.k.a. the Penguin), respectively. Zoë Kravitz is not expected to return as Selina Kyle/Catwoman.

Other actors confirmed to come back include Jayme Lawson as Gotham’s mayor, Bella Reál, and Gil Perez-Abraham as Gotham City Police Dept. officer Martinez.

Barry Keoghan, whose character was briefly teased at the end of “The Batman,” is also reportedly likely to return as the Joker.

Who are the new cast members?

The newcomers venturing into Gotham for this next installment include Sebastian Stan, Scarlett Johansson, Charles Dance, Sebastian Koch and Brian Tyree Henry.

While their roles have yet to be confirmed, a number of outlets have reported that Stan is expected to portray Harvey Dent, a Gotham district attorney who is perhaps better known as the villain Two-Face, while other rumors say the Marvel star will play the sadistic killer Victor Zsasz. According to other rumors, fellow Marvel alum Johansson could be playing Gilda Dent — Harvey’s wife — or Poison Ivy.

What is ‘The Batman Part II’ about?

Details around the sequel’s plot have yet to be revealed, but the movie is expected to take place after the events of the HBO series “The Penguin,” which was set after “The Batman.” A number of Reeves’ social media teases have included glimpses of snow.

Over the years, the director has mentioned that the sequel will see the young Dark Knight struggling with his understanding that the world is more morally gray than his previous worldview, and that the film’s big villain will be someone who hasn’t appeared on the big screen before.

In the latest episode of “The De Los Podcast,” actor and comedian Fabrizio Guido spoke with hosts Fidel Martinez and Suzy Exposito about his role in the Netflix series “Running Point” — as well as being a part of a new wave of young Latino Hollywood stars and how he got his start in the stand-up comedy world.

Having grown up in L.A. himself, Guido talked about owning the persona of “Running Point” character Jackie Moreno: a concession-worker-turned-executive-assistant from Boyle Heights.

“I just felt I had all the tools necessary to bring this character to life,” Guido said. “It was a really important opportunity for people to see this side of L.A. … to get to know that kid that you see on the street or at the mall [and say] ‘Oh, that guy reminds me of Jackie.’”

Part of the appeal of the character was the chance to “showcase how much heart L.A. has.”

Alongside actors like Xolo Maridueña, Keyla Monterroso Mejia, Isabela Merced and Jenna Ortega, Guido is part of a new class of young Latinos taking Hollywood by storm — something the “Running Point” star said is “an honor.”

“It can be isolating if you’re the only Latino on a set,” Guido shared. “So to have peers that share a similar upbringing as you — you walk away with a friendship most of the time because you have stuff in common.”

He also mentioned that the bump in Latino talent has led to diversity in roles within the community.

“For the longest time, it could’ve been stereotypical — the only things Latino could play,” Guido said. “For the first time we’re starting to see this emergence of what it means for each one of us to be Latino. I’m bringing my experience to the table, Keyla is bringing her experience to the table, Xolito is bringing his. We’re not going by what the industry thinks Latino is, we’re bringing what we think Latino is.”

But beyond the acting world, Guido has also tackled the stand-up comedy scene in recent years.

He shared that he got his first gig thanks to comedian Gabriel Iglesias, who he worked with on the Netflix sitcom “Mr. Iglesias.” The arena comic convinced Guido to do a five-minute set — which Guido worked on for two weeks — at the Brea Improv.

“I got on stage, did my first joke and was super nervous,” he said. “Second joke did really well and it afforded me enough time to get present and then I ran through my five minutes, got off stage a different person. I knew I was in love. I felt like something in my life had shifted in that moment and I’ve been in love with stand-up ever since.”

Thousands of people who travel every day between the southern tip of Spain and the British territory of Gibraltar will no longer have to cross a physical border from Wednesday.

This came after the European Union and United Kingdom on Tuesday signed a treaty that delivers “economic and trade certainty for the people and businesses of Gibraltar, safeguards British sovereignty and protects the autonomous operation of UK military facilities”.

The treaty was signed in Brussels by the European Trade Commissioner Maros Sefcovic, British Minister of State for Europe Stephen Doughty, Spanish Foreign Minister Jose Manuel Albares and Gibraltar Chief Minister Fabian Picardo.

“Gibraltar was left out of the UK-EU Trade and Cooperation Agreement following Brexit, creating the prospect of a devastating ‘hard border’ for the 15,000 people – more than half of Gibraltar’s workforce – who cross the land border between Spain and Gibraltar every day,” the treaty said.

Here’s what we know about the treaty:

What does the treaty include?

Britain secured Gibraltar, a strategically important enclave at the southern tip of Spain, in the 1713 Treaty of Utrecht, which ended the War of Spanish Succession.

The contested British overseas territory of 38,000 people is perched at a strategic location, only 8 nautical miles (15km) from Morocco where the Atlantic Ocean meets the Mediterranean Sea.

The new agreement allows residents of Gibraltar to cross into Spain using residence cards without needing to have their passports stamped. In return, Spanish citizens will be allowed to enter Gibraltar using a government ID card.

The treaty in effect brings Gibraltar into the EU’s Schengen free-travel area, which allows people from 29 countries to move among them freely without needing visas.

At Gibraltar’s airport and port, entry and exit checks will be conducted by both British and Spanish border officials. The arrangement is similar to what’s in place at Eurostar train stations in London and Paris, where both British and French officials check passports.

Travellers to Gibraltar from countries outside the Schengen area, including the UK, will have to contend with the EU Entry/Exit System, which was rolled out in Europe in April and replaced passport stamps with biometric data collected through photographs and digital fingerprints.

Under the older system, every person had to face two border checks, one by Gibraltarian border agents and the other by Spanish officials when entering or exiting the Schengen area. The checks caused long queues, heavily impacting the workers who made the crossing daily.

The British government said the agreement brings “fluidity for people and goods crossing the Gibraltar-Spain border to support economic growth and jobs in the region”.

What was the motivation behind the treaty, and how does Brexit feature in it?

In a 2016 referendum in which UK voters approved leaving the EU, 96 percent of voters on “the Rock”, as Gibraltar is popularly known in English, supported remaining in the bloc.

When Britain eventually left the EU in 2020, the relationship between Gibraltar and the bloc was left unresolved. Previous talks on a deal to ensure people and goods could keep flowing across the border had made halting progress.

While the Trade and Cooperation Agreement, which came into force in 2021, broadly covered relations between the bloc and Britain, it was decided that Gibraltar would be addressed in separate negotiations because of its unique situation because it’s not in the EU customs union or the Schengen area.

In 2025, the EU and UK announced an agreement on those issues after more than three and a half years of negotiations.

Does the treaty place Gibraltar in a special position, and do any other British overseas territories have the same privileges?

Yes, Gibraltar is in a unique position because it has now gained EU privileges without being an actual EU member.

Still, it is under British sovereignty, and the treaty solely seeks to resolve post-Brexit cooperation with the EU and border management due to its open land border with the EU.

None of Britain’s other overseas territories, which include 14 territories scattered across the Caribbean and the Antarctic, has a deal similar to Gibraltar’s due to the shared land border.

Some of the territories have international arrangements, including Bermuda, which has its own immigration and tax systems, and the Falkland Islands, which govern themselves.

The Swoosh is staying at USC for the foreseeable future.

USC and Nike agreed this week to a 10-year extension of their all-sports apparel deal through 2036, the school announced on Tuesday.

Their partnership was already among the longest-running apparel deals in college athletics. Now it’s ensured to carry into its fifth decade.

“USC and Nike have grown together for more than 30 years,” athletic director Jennifer Cohen said in a statement, “and we are thrilled to continue one of the great partnerships in college athletics.”

At the time that USC first signed exclusively with Nike, such corporate sponsorships were a relatively new revenue stream for the school. Now, in the revenue-sharing era, they’ve become a ubiquitous — and essential — part of operating an athletic department.

This new deal should look a bit different than the last few times that USC extended their apparel deal with Nike. For one, it includes an NIL component, with select top-tier Trojan athletes slated to score their own NIL deals with Nike.

As part of the extension, USC’s new Bloom Football Performance Center will become the first facility in the nation fully outfitted with Nike strength equipment. Nike also agreed to design “custom uniform collections” for the USC men’s and women’s basketball programs and to renovate the USC Bookstore.

The financial terms of the deal were not disclosed. Other Big Ten schools signed with Nike signed during a stretch between 2015 and 2016 that became an apparel arms race around college football. Ohio State signed a 15-year, $252-million deal with Nike in 2016, while Michigan inked an 11-year, $174-million deal with Nike and Jordan Brand.

Yo-Yo Ma closed his eyes as he drew a bow slowly across his cello, playing the first notes of the Catalan lullaby “The Song of the Birds.” But this venue wasn’t like any vaulted concert hall he had toured globally.

At Maywood’s Riverfront Park, Ma was accompanied by the vroom of nearby traffic, cascade of a yucca rainstick and burbling hum of a water synth. An oblivious biker pushed past the world-renowned classical musician. The music flowed on.

Ma’s pop-up show in Southeast Los Angeles was part of his ongoing efforts to highlight people’s relationship to nature through music. He is among a new wave of artists who have been hosting shows along the L.A. River, a waterway with a complex history.

Yo-Yo Ma plays cello for a small group of artists and environmental advocates as part of the L.A. Phil Insight program, which aims to spark conversations around the arts.

(Halline Overby for InsightLA)

The river once terrorized Angelenos; its unconstrained flow was prone to flooding until most of its 51 miles were lined with concrete starting in the 1940s. While it’s been neglected, trashed and often forgotten over time, myriad governmental and nonprofit groups have been working for years to restore habitat, add park space and establish recreational elements (sometimes in conflict over the vision). And recently, creatives and activists, who dream of transforming it into a hospitable greenway, have been hosting arts events.

“Awareness around the river itself is changing,” said Maria Meija, executive director of L.A. River Arts, one of the organizations bringing attention to its history and cultural significance through public programming. She sees the serpentine stretch of the river as a natural highway that connects Angelenos from the San Fernando Valley to Long Beach. “We believe that if the river is properly activated as a green and cultural landscape, then Angelenos will fundamentally also get to experience Los Angeles in a different way.”

The River Solstice Festival was a family affair, with guests lounging on picnic blankets, watching puppet and opera performances and participating in birdwatching.

(Ariana Drehsler / For The Times)

Visions of those possibilities were realized on the summer solstice in mid-June at L.A. River Arts’ inaugural River Solstice Festival at an Elysian Valley park abutting a soft-bottomed area of the river known as the Glendale Narrows.

Children and parents applauded the performances by the Bob Baker Marionette Theater and opera singer San Cha at Lewis MacAdams Riverfront Park in what’s otherwise known as Frogtown. Attendees also gathered for guided bird-watching along the bike path by the water. Four-year-old Juni Wahab was entranced by the sight of the swallows and cormorants swooping low overhead and the rushing twists of water.

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1. Bob Baker Marionette Theater performs at the River Solstice Festival, clockwise from top left. Meanwhile, attendees enjoy the park and river as skateboarders roll down the bike path. (Ariana Drehsler / For The Times)

“It’s going so fast,” Wahab said, wiggling and pointing as her aunt held on tightly for safety. “There are so many waves.”

A quick stroll upstream, a group of DJs unaffiliated with the family-friendly festival hosted a day party aimed at Gen Z and millennial attendees, perched on one of the channel’s outcrops. Roughly a dozen people at the if-you-know-you-know event grooved and shuffled to EDM music while kayak enthusiasts paddled by and locals fished for carp.

Dominic Tsoi drove from Orange County to spin at the open decks hosted by the DJ collective Helipad Society. “This event really resonated with me, because it mixes two things that I really love, music and being a part of nature,” said Tsoi, adding the commute was worth it. An indoors club setting can feel stifling, but outdoors is where Tsoi feels free.

DJs have been putting on pop-up events like this one at the L.A. River and sharing videos of their sets on TikTok.

(Ariana Drehsler / For The Times)

Just up the sloped bank, Antonio Solano and Erick Torres were sweeping outside their tent, where they live under the Glendale Freeway. Torres started noticing events at the river increase over the last three years.

“It gets people together,” said Torres, who’s been living above the river for over a decade. The music is a source of pleasure even as Torres and Solano stay vigilant to avoid city encampment sweeps. “It’s good, we enjoy it.”

Social media has driven interest in these DIY events as artists playing ambient music against a backdrop of verdant green have gone viral on TikTok.

“The attention has expanded to people who otherwise wouldn’t have given the L.A. River a second thought,” said Noah Klein, a lifelong Angeleno who has hosted popular river jams over the last two years through his Living Earth public art series.

Erika Apelgren wears a flower crown that she made at the River Solstice Festival.

(Ariana Drehsler/For The Times)

People don’t need approval to host these impromptu gatherings, said Dash Stolarz, director of public affairs at the Mountains Recreation and Conservation Authority. The park agency oversees commercial use of the L.A. River recreation zones in Elysian Valley and the Sepulveda Basin, another section of soft-bottomed riverbed.

In her 25 years on the job, this was the first time Stolarz had heard of people using the riverfront for mini concerts. She was excited by the ingenuity of artists; as long as people aren’t charging for events, they don’t need permission.

“It’s exactly how we envisioned people enjoying the river,” Stolarz said. “We want people to use the river like a park.”

Though unlike a regular park, the L.A. River is primarily treated as a flood control channel, so park rangers carefully monitor for rain when the recreation zones open for leisure, like kayaking, during the summer.

While appreciating the L.A. River can be a good thing, social media algorithms can flatten the context around the waterway, particularly when it comes to demographic changes in nearby neighborhoods.

“The City of L.A.’s greatest skill is the erasure of its own history, and the L.A. River kind of feels like the perfect encapsulation of this,” Klein said.

Once home to mostly working-class Latino families, neighborhoods along the river in northeast L.A. have seen home prices surge for years. To preserve the history of these neighborhoods, Clockshop, an arts organization, has been collecting interviews with locals as part of a multimedia oral history project since 2023. The project includes everything from videos of an Indigenous musician performing a song about water in the Tongva language to brothers worrying about the future of their family’s 60-year-old pickle business in the face of gentrification.

Jon Christensen, director of the Laboratory for Environmental Narrative Strategies at UCLA, said river revitalization can be part of a “green gentrification cycle” as new development pushes out old communities. Like the chicken-and-egg paradox, it’s hard to tell which comes first: the amenities surrounding the L.A. River or the more affluent people seeking them.

Yo-Yo Ma, who hosts a podcast called “Our Common Nature,” chats with attendees at his intimate river concert. Human connection to the natural world is among his passions.

(Halline Overby for InsightLA)

Christensen hopes artists engaging with the river spurs conversation for more equitable green investments that benefit communities and the environment. “When people are more connected to nature, they want to support nature more,” Christensen said of his studies on how people connect to the outdoors. “It’s really kind of a virtuous cycle there.”

Cindy Donis, a water organizer with East Yard Communities for Environmental Justice, said artwork can also raise awareness around inequities. While there are aspirations to turn the river into a greenbelt, nightmarish pollution incidents have still haunted Southeast L.A. communities.

Ma’s performance was nearly canceled in May due to 25,000 gallons of crude oil that spilled into the L.A. River after a pipeline rupture in Boyle Heights. Weeks later, the Lineage warehouse fire sent even more debris and pollution downstream. Donis said multiple people reached out with complaints of a foul smell emanating from the river. Miles away, some at the River Solstice Festival wore masks due to poor air quality caused by the fire.

Charles Kelley with his daughter Zirah Kelley pose along the L.A. River bike path near the River Solstice Festival.

(Ariana Drehsler/For The Times)

Earlier this year, East Yard Communities for Environmental Justice held an exhibition at Art Space Huntington Park called “We Are Water” to uplift local Indigenous artists. “Art really allows and embraces healing,” Donis said. “It’s another tool that allows us to process these feelings and get closer to the solutions as a community.”

The L.A. River inspired Arturo Gonzalez to found his arts education nonprofit that focuses on gang intervention among young people in East L.A. As Ma performed in the park, Gonzalez stood in the river basin, spray-painting in neon-pink blockbuster letters the name of his organization, East Side of the River, onto pillars under Slauson Avenue.

As a teenager in the early 2000s, Gonzalez was involved in gangs that would tag the gray walls of the L.A. River, but his passion for graffiti and Chicano art eventually led him out of those circles.

“The river was a safe place to paint, where you could sit and spend the day learning colors, composition,” he said of illicit tagging as a teenager, which eventually led to his public art work. “There’s a thin line between vandalism and art.”

Arturo Gonzalez spray-paints the name of his organization, East Side of the River, which focuses on gang intervention.

(Halline Overby for InsightLA)

This time, Gonzalez arrived with permission from the county and painted on a detachable fabric in case the mural needs to be removed.

“The opportunity to get into the river and paint again was like a dream,” he said. He seeks the input of local residents in his planned projects so they can participate in beautifying their neighborhoods. “We call it wall medicine for the community.”

Croatia’s World Cup was seconds away from being over and Portugal was seconds away from the round of 16 when Ivan Perisic sent a long, desperate cross into the penalty area. The ball bounced off bodies like a pinball before magically, unbelievably, caroming into the net.

Gooooooallllllll!!!!

Fate had given Croatia a reprieve.

But as pandemonium broke out in the stands and on the pitch, Norwegian referee Espen Eskas stood in the middle of the celebration in Toronto, hand to his ear, listening to a voice half a continent away in Dallas.

The voice recommended a review, via the video assistant referee, or VAR.

So Eskas trotted over to a TV monitor, watched a video replay over and over again, and more than 2½ minutes after the goal was recorded, he took it off the board. Perisic’s cross had brushed the hair of teammate Igor Matanovic, leaving Mario Pasalic in an offside position when the ball reached him near the far post. The contact was imperceptible to the naked eye, but a space-age sensor in the ball had confirmed it.

A VAR review led a referee to overturn a Croatia goal during its 2-1 World Cup loss to Portugal in Toronto, eliminating Croatia from the tournament.

(Dan Mullan / Getty Images)

Croatia’s World Cup was over, another victim of VAR, which has had an outsized influence on this summer’s tournament.

It wasn’t supposed to be this way. When VAR was introduced to soccer nine years ago, its mission was clear: to alert the head referee to potential clear and obvious errors or serious missed incidents. At least that’s what Major League Soccer, one of the first leagues to use the system, wrote in the news release introducing it.

“It was really to stop the headlines,” said Mark Geiger, who helped implement VAR as an MLS referee. “These super-egregious errors in a game that impact the outcome. The mantra for VAR was always minimum interference but maximum benefit.”

Under the VAR system, officials sitting before a bank of monitors in a centralized control room review match footage in real time and advise the on-field referee of potential errors. If the video assistant referees believe a mistake has been made, they communicate that through an earpiece the match referee is wearing. If the match official agrees, they will stop play, signal a review by motioning their hands in the shape of a rectangular TV screen, then watch the play themselves on a pitch-side monitor before either confirming or reversing the original decision.

It is comparable to the Automated Ball-Strike review added this year in Major League Baseball, tennis’ Hawk-Eye line-calling system and long-standing centralized instant replay review in the National Football League and National Basketball Assn., systems that have both corrected errors and stoked debate.

But VAR has morphed into something far greater. In this World Cup, there have been more than 100 VAR interventions, encompassing both confirmed on-field calls and overturned decisions, through the end of the round of 16, according to Antonio Vuksanovic, a publication relations and communications professional at Sofascore, a Croatian technology company and sports statistics website.

“When it comes to actual overturned decisions, we’re looking at roughly 0.5 per match, which is higher than the last World Cup and higher than what we saw across the most recently completed club season,” Vuksanovic said.

Even though the officials have gotten most of those calls right, many of the infractions reviewed have been so imperceptible yet so consequential, it has raised a question: if human error on the part of players and coaches is part of the sport, is allowing a game to be decided by electronic evidence of a touch detectable only through NASA-level technology violating the spirit of the game?

Iran’s Shoja Khalilzadeh shoots past Egypt’s Mostafa Shobeir, but the goal was overturned after VAR review during a World Cup match in Seattle on June 26.

(Maddy Grassy / Associated Press)

Christina Unkel, a former FIFA referee, state referee administrator in Florida and a rules of the game analyst for multiple TV networks, believes it does.

“Football is an art. And that’s why we love it,” she said. “It truly isn’t the referee’s fault. We’re not the ones seeking more advanced technology. We don’t want to look like robots out there. But the stakeholders are like ‘more, more, more.’

“When you do pursue black and white — objectivity is what they’re trying to get to, and I get it; they want to eliminate as much subjectivity as possible — what everyone is hating is this perfection thing.”

FIFA, the major stakeholder in the World Cup, declined multiple requests to answer questions about the officiating, but it has clearly doubled down on the technology for this tournament, introducing the semi-automated offside system which uses player-tracking cameras, computer-generated offside lines and, in some cases, data from a measuring instrument inside the match ball, to identify everyone’s position on the pitch when the ball is played.

“The whole genesis of VAR was not to fix every mistake or to make the referees perfect,” said Geiger, the first American to officiate a World Cup knockout game and now general manager of the Professional Referees Organization (PRO), which oversees referees for MLS and the NWSL. “Is the referee correct? That’s not the right question. They should be asking themselves, ‘is the referee clearly and obviously wrong?’”

Geiger, however, remains a huge proponent of the system and was careful not to criticize how it’s been used in this World Cup.

Belgium’s Youri Tielemans on a penalty kick that sails by Senegal goalkeeper Mory Diaw during a World Cup round of 32 match in Seattle on July 1. The game-deciding penalty kick was awarded after VAR review.

(Manu Fernandez / Associated Press)

Still, the frequent use of VAR and other technologies has clearly robbed the World Cup of much as its drama, with spontaneous celebrations of game-winning goals turning to grief moments later when the referee steps away from the monitor and takes away a score.

Reviews not only ended Croatia’s tournament, but they showed Shoja Khalilzadeh was a toe offside when he scored the goal that would have sent Iran to the knockout stages, one of three goals Iran had disallowed by VAR in the tournament; it gave Belgium a late penalty, based on light contact, that Youri Tielemans converted to end Senegal’s World Cup; and it cost Egypt a goal for a perceived foul that took place nearly 100 yards away from the ball in its 3-2 loss to Argentina.

“What happened to us wasn’t fair,” Egypt coach Hossam Hassan said.

Unkel agreed with that sentiment too.

“Everyone hates it,” she said. “According to VAR, that’s correct to take that goal away. That’s not the spirit of the game. But it’s the correct decision by law.”

What Unkel would prefer — and she believes a majority of officials are on her side — is for referees to have discretion to ignore or even overrule VAR if common sense and their understanding of the game suggest they should, just as judges have discretion to use common sense in applying the law.

“A lot of our game, the majority of it, is very subjective,” she said. “When we’re all sitting there saying, ‘No, that doesn’t gain an unfair advantage,’ then that’s when we have to start reconsidering things back to the spirit of the law. That’s the catchall loophole for saying, ‘Do we want this to be part of our game?’

“And I think everyone’s universally saying there a lot of different kinds of decisions we do not want part of our game. Toenail offsides, hair follicle arguments.”

Without the use of video replays, its unlikely any of those calls would have been made and the World Cup quarterfinals would probably look quite different.

England players react as referee Alireza Faghani shows a red card to England’s Jarell Quansah during a World Cup match against Mexico on July 5.

(Natacha Pisarenko / Ap Photo/natacha Pisarenko)

England coach Thomas Tuchel, upset about a penalty call on captain Harry Kane and a red card given to defender Jarell Quansah, both following video reviews in his team’s round-of-16 win over Mexico, said rulings were being overturned in the tournament “in a very questionable way.”

“The referees can send any team out in any moment,” he added. “It’s just not good enough. It’s just erratic. It’s just unreliable.”

An apparent misuse of the technology also led to the most controversial incident in the tournament. In the second half of an elimination game between the U.S. and Bosnia-Herzegovina, American Folarin Balogun stomped on the ankle of Bosnia’s Tarik Muharemovic, something Brazilian referee Raphael Claus initially decided did not merit even a caution. But after VAR official Juan Soto of Venezuela urged him to watch a replay, Claus flashed a red card at Balogun, expelling him from the game and banning him from the next match in the round of 16.

Claus had watched the replay in slow motion, allowing him to see what wasn’t apparent at game speed. FIFA later intervened by lifting Balogun’s one-game suspension, igniting ever greater controversy because it was just the second time that has happened in a World Cup.

U.S. forward Folarin Balogun steps on Bosnia-Herzegovina defender Tarik Muharemovic’s foot and received a red card after VAR review during the World Cup.

(Robert Gauthier/Los Angeles Times)

The heavy use of VAR has also interrupted the flow of games by halting matches that weren’t meant to be halted, leaving everyone standing on the field while the referee goes off to watch TV, sometimes for minutes at a time.

“When calls are reviewed and when goals are reviewed, sometimes it could take away from the momentum,” U.S. defender Chris Richards said. “Look under anything with a microscope, you could probably find something. But ultimately it was meant to be helpful for the game.”

And it has been. Because if officials have become over-reliant on VAR to review decisions that were not, or could not, be seen in real time, at least they’re getting those decisions right.

“I wish we had it in the 2002 World Cup,” said Bruce Arena, who coached the U.S. in that tournament. “We might have made it to the semifinals.”

In the quarterfinals of that tournament, with Germany leading 1-0 in the 40th minute, an obvious handball by Germany’s Torsten Frings kept out a shot from American Gregg Berhalter. If VAR had been available, Scottish referee Hugh Dallas could have corrected the missed call, awarding a penalty and giving Frings a red card, expelling him for the final 40 minutes.

“Look at every sport now in the world,” said Arena, coach of the San José Earthquakes. “They have some version of VAR. Why not make decisions correct?”

“There are still plenty of opportunities for the referees to control the game and make mistakes and not make mistakes,” he continued in reference to the human element. “It’s not like every moment is evaluated. But key moments are.”

As for interrupting the flow of play, Arena says the three-minute hydration breaks FIFA has introduced each half — ostensibly for player welfare, but in practice to give the TV networks additional commercial breaks — have been more disruptive.

“You don’t want VAR to officiate the game completely,” Arena said. “You have to pick your spots. For the most part, I think VAR is good.”

A 26-year-old man has been arrested on suspicion of murder following the death of former MP and government minister Ann Widdecombe.

Devon and Cornwall Police confirmed the man, who is a white British national, was arrested at an address in Newton Abbot, Devon, on Friday and is in custody.

The body of the 78-year-old former Conservative minister and Reform UK spokesperson was found by police with serious injuries at her home in Haytor, a rural village on Dartmoor in Devon, at about 11:40 BST on Thursday.

The incident is not being treated as terrorism, after counter-terror policing was involved as part of “initial enquiries”.

Assistant Chief Constable Matt Longman told a news conference on Friday they currently have “no information to believe that that is a politically motivated crime” – and it was “too early” to comment on whether or not the suspect was known to Widdecombe.

He said the investigation was in the early stages and urged anyone with information to come forward.

Widdecombe’s next of kin have been informed and are being supported by specially trained officers.

The prime minister and other political leaders said they were stunned by the development on Friday afternoon.

Sir Keir Starmer said it was “really shocking”, while Conservative leader Kemi Badenoch said she was “stunned to hear this awful news”.

Reform UK leader Nigel Farage said he was “deeply, deeply upset by the nature of her death”.

Widdecombe’s political career spanned decades. She served as MP for Maidstone in Kent for 23 years, and worked as a Home Office and employment minister in Sir John Major’s government between 1994 to 1997.

After leaving Parliament she embarked on a showbiz career, appearing on Strictly Come Dancing in 2010 and Celebrity Big Brother in 2018.

A staunch supporter of the UK’s departure from the EU, she became an MEP for the Brexit Party, representing South West England in the European Parliament between 2019 and 2020.

In 2023, Widdecombe joined Farage’s Reform UK party, after it changed its name from the Brexit Party, and made a number of appearances as the party’s immigration and justice spokesperson.

WASHINGTON — Crews are again draining the Lincoln Memorial Reflecting Pool as President Trump’s problem-plagued efforts to revamp the waterway pushes well past his initial goal of having it ready by July 4 to mark the nation’s 250th birthday.

The president at first suggested his renovations would last a century. But within weeks of the project originally reaching completion last month, the water was beset by an algae bloom and pieces of the new coating appeared to be peeling off the bottom.

Trump has blamed the peeling on vandals, though critics allege it’s from shoddy repair work.

Interior Secretary Doug Burgum, whose agency oversees the National Park Service, told conservative podcaster Katie Miller in an interview released earlier this week that the new round of draining was planned. He also said that the water might still contain debris from an extensive Independence Day fireworks display over the National Mall.

“Drain the water, clean up the fireworks stuff,” Burgum told Miller, who is the wife of deputy White House chief of staff Stephen Miller. “Repair the vandalism that was done. Fill it back up again.”

The work on the Reflecting Pool is just one of a number of projects Trump has spearheaded across the nation’s capital. Most prominently, he demolished the White House’s East Wing to build a $400-million ballroom and plans to build a towering arch between the Lincoln Memorial and Arlington National Cemetery.

He initially announced his intentions to beautify the Reflecting Pool this spring, saying he wanted it completed before the nation’s 250th birthday celebrations.

Water was drained and Trump directed that the bottom be painted what he called “American flag blue.” In May, the president posted on his social media site of the pool: “The goal is to have it done, at this higher level, prior to July 4th — We are ahead of schedule!”

But problems began quickly after the initial work was finished. Trump blamed vandals, and court documents later showed that the National Park Service reported to the U.S. Park Police a June 9 incident in which a sharp knife or razor cut the pool’s new liner.

On Thursday, former Olympic canoe racer David Hearn pleaded not guilty in D.C. Superior Court to deliberately damaging the Reflecting Pool. Hearn has said he reached inside the pool to examine the peeled sealant and let go of a chunk when he was told to by a park worker.

His attorneys and other Trump administration critics have derided the case as an abuse of prosecutorial power and maintain he is being scapegoated for the poor job done fixing up the Reflecting Pool.

At least three other people have been charged in the same court with misdemeanors for allegedly removing pieces of paint from the Reflecting Pool, according to online court records. All three pleaded not guilty during their initial court appearances Wednesday.

The pool was closed for the Independence Day celebration, which featured what Trump said was the largest fireworks display in the world. The president had said that the pool would have to be drained anew as part of the new round of repairs.

Burgum has also said that the Trump administration won’t seek bids for the new rounds of repairs. He told CNN’s “State of the Union” last weekend: “We’ll use the same company because they did a fantastic job.”

Ohio-based Green Water Solutions, also known as Greenwater Services, was given a $1.7-million contract to install a water-purification system in the Reflecting Pool, while Virginia-based Atlantic Industrial Coatings was awarded $14.7 million to repaint and waterproof the pool’s concrete floor.

Democratic senators and House members are investigating the pool project, including seeking answers about how much taxpayer funding is involved.

Weissert writes for the Associated Press.

CHRISTINE McGuinness has admitted she fears about her children’s future without her and is preparing them already for when she “goes to sleep”. 

The 38-year-old model is the proud mum to three autistic children – twins Penelope and Leo, 11, and Felicity, 8 – with ex Paddy McGuinness. 

But in a new tell-all parenting podcast, Parent Unplugged, Christine admitted that their special educational needs have left her fearing what the future will look like for them once she dies.

In a teaser clip for the upcoming episode with parenting coach and podcast host Charis Halsall, Christine took a deep breath when she was quizzed on what she found the hardest part of parenting. 

“Oh, this is quite deep to start with!” she said, before admitting: “It’s realising that I am preparing my three children to live without me when I can’t live without them.” 

When Charis asked why, Christine noted: “It’s our job, as a parent or a carer, anyway. Of course we want them to be happy, we want them to be successful, and all of that. 

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“But really, we want to know that when we do… go to sleep properly, that they’re going to be able to cope and manage.” 

“So I think that that was the biggest realisation: that I kind of can’t live without these three kids, and one day, they have to live without me, so I need to prepare them to be as independent as possible, especially with their additional needs as well.” 

While Christine and Paddy announced their split in 2022, the pair have continued to live together in order to maintain a regular pattern for their three children. 

After her children’s diagnosis, Christine was also diagnosed with autism and ADHD. 

However, last year they decided to take a new step and put their Cheshire mansion on the market for £6.5million – though they’re yet to find a buyer. 

A source close to the couple has told The Mail on Sunday that TV presenter Paddy – who bought the house with Christine for £2.1million back in 2020 – is behind the ‘overpriced’ property value and it’s suspected it’s due to him not wanting to move out of it. 

However, this has reportedly caused issues with his ex-wife, with the source noting: “Christine is getting really fed up now. She wants to move on but it seems with it being priced so high, Paddy doesn’t want her to.

“Paddy doesn’t want to downsize. He wants a big house to fit with his ego. It feels like a control thing. 

“He knows he will never get £6.5million for it. It feels like he’s playing silly games.”

Since her split from Paddy, Christine has tried getting back out into the dating world – and in June 2025 confirmed she was interested in both men and women, having dated both since she was a teenager. 

She’s since been seen locking lips with DJ Roxxxan, just days after it was revealed she was ‘growing close’ to Strictly star and Olympic boxer Nicola Adams, and had a fling with a high-profile soap actress. 

Joining the London Pride festivities last weekend, Christine shared that she wasn’t interested in labelling her sexuality, noting in her Instagram post: “More love, Less labels. Open hearts, Open doors. Happy Pride everyone!”