French and Brazilian stars in focus as former world champions meet in a glamour friendly in Boston, US, before the World Cup.
Brazil and France will be among the leading contenders for FIFA World Cup glory later this year, and the two heavyweight teams continue their preparations for the tournament by facing off in a glamour friendly in the United States on Thursday.
With fewer than three months until kickoff, the countries ranked fifth and third respectively in the world rankings are in the US, familiarising themselves with what lies in store for them this June-July.
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When and where is the Brazil vs France friendly match?
The former world champions go head-to-head on Thursday at 20:00 GMT at the Gillette Stadium near Boston, Massachusetts.
The home of the National Football League (NFL) side New England Patriots is the venue for the first meeting of these teams in exactly 11 years, since Brazil came from behind to win 3-1 in a friendly at the Stadium of France in March 2015 with goals from Oscar, Neymar and Luiz Gustavo.
How is Brazil’s form ahead of the match?
Brazil laboured their way through South American World Cup qualifying with six defeats in 18 games as they finished fifth. Now they are hoping the appointment of Carlo Ancelotti as coach will give them a genuine chance of winning a record-extending sixth World Cup, and first since 2002.
After this match, they will head to Orlando, Florida, for the next friendly on March 31 against Croatia, the team that ousted them from the 2022 World Cup in the quarterfinals.
Will Brazil miss Neymar?
Neymar is now 34 and has not played for his country since October 2023, but his absence from the squad has still been one of the main talking points coming into these matches.
“It is a physical issue, not technical. With the ball, he is great, but he needs to improve physically,” Ancelotti said after being asked about the absence of the former Barcelona and Paris Saint-Germain superstar, now at Santos.
“Because in my eyes and those of my staff, he is not at 100 percent. So he needs to keep working to get back to 100 percent.”
Who will be the key players for Brazil?
In the meantime, Brazil’s main man is Real Madrid forward Vinicius Junior, while others likely to have key roles at the World Cup, such as goalkeeper Alisson Becker, centre-back Gabriel Magalhaes and midfielder Bruno Guimaraes, are missing here.
Despite a glittering club career that includes two Champions League triumphs and three La Liga titles, Vinicius has scored eight goals in 45 appearances for the five-time world champions and is determined to turn promise into international silverware with his second World Cup on the horizon.
“I feel more at ease, I’m happier; and when I’m happier, everyone around me is happier and more confident too,” Vinicius told reporters.
“I hope that everything I do for Real, I can go on to do here with the Brazilian national team. That’s my biggest goal. It’s where I’ve always dreamed of being, and I want to bring great pride to our country and a lot of joy to our entire nation.”
Among other players to feature is Rayan, the uncapped 19-year-old who earned his place after impressing in the Premier League for Bournemouth since arriving from Vasco da Gama in January.
Will Mbappe start for France?
The main focus for France, as ever, is Kylian Mbappe, and the national team captain was eager to feature on this trip after overcoming a knee injury to return for Real Madrid just last week.
There had been mounting fears in France that the 27-year-old’s fitness could become a real issue, but he said missing the World Cup or the end of the club season was never a concern.
“It is behind me. I was following a protocol, and I wanted to start playing again gradually. I hope to be able to play during this international break and to start being decisive again,” he said on Monday.
What happened in the last Brazil-France match?
The last competitive meeting of the teams came at the 2006 World Cup, when France beat Brazil 1-0 in the quarterfinals, thanks to a Thierry Henry goal and a masterful performance by Zidane.
Will Brazil and France meet in the World Cup?
If both win their groups at the upcoming World Cup as expected, they would not meet each other until the final.
Getting that far is the aim for these sides, and Thursday’s game will be a good gauge of where both stand as the competition approaches.
I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.
I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”
While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.
Conjuring such a state of anxiety was the point.
“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.
There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.
“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.
For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”
“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.
(Joe Camareno / Theatre Obscura)
Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.
“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.
Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.
Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.
“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.
(Joe Camareno / Theatre Obscura)
And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.
Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.
“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”
Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.
“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.
“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”
On a night when my family watched Austin Reaves pull off the miraculous intentional missed free throw put-back basket on the way to a thrilling Laker overtime win against the Denver Nuggets, we talked more about the newest Lakers super fan on the way home. Kudos to Bill Plaschke for recognizing and capturing the power of 6-year-old Jackson Tuyay’s passionate cheering that helped ignite the laid-back crowd and inspire the Lakers to a huge comeback win. As a lifelong Laker fan since the same age as Jackson it was so awesome to see such innocent and authentic passion for the Lakers. In an arena full of stars in the stands and on the court it was the voice of a 6-year-old that reminded us how awesome it is to be a Lakers fan for life!
Paul Stapleton Los Angeles
To quote Jackson Tuyay, “Yeaaaaah!” It looks like the Lakers can play some defense and beat the better teams after all.
Vaughn Hardenberg Westwood
The Los Angeles Times welcomes expressions of all views. Letters should be brief and become the property of The Times. They may be edited and republished in any format. Each must include a valid mailing address and telephone number. Pseudonyms will not be used.
Noah Cates scored on a deflection off goalie Lukas Dostal’s skate at 2:17 of overtime and — after a review for offsides on the play — the Philadelphia Flyers beat the Ducks 3-2 on Wednesday night.
The Pacific Division-leading Ducks forced overtime on Leo Carlsson’s goal with 1:54 left in regulation.
Dan Vladar made 34 saves to help Philadelphia rebound from a 2-1 shootout loss to Columbus at home Saturday night. The Flyers are six points behind Boston and Detroit for the two Eastern Conference wild-card spots.
Luke Glendening had his first goal of the season and Owen Tippett also scored for Philadelphia. Trevor Zegras was held off the scoresheet in his first game in Anaheim since his offseason trade. He scored twice in Philadelphia’s 5-2 home victory over the Ducks on Jan. 6.
Cutter Gauthier also scored for the Ducks, and Dostal stopped 24 shots. The Ducks beat Montreal 4-3 on Sunday night to finish 2-2 on a Canadian swing.
Ducks defenseman Radko Gudas served the third game of a five-game suspension for kneeing Auston Matthews in a loss at Toronto on March 12. Matthews tore the medial collateral ligament in his left knee and will miss the rest of the season.
Defenseman John Carlson played his second straight game for the Ducks after a trade-deadline deal with Washington. His debut was delayed by a lower-body injury.
Glendening opened the scoring at 2:50 of the first period, his first goal in 57 games this season with New Jersey and Philadelphia. Tippett made it 2-0 at 7:53 of second with his 23rd of the season. Gauthier cut it to 2-1 on a power play with 38 seconds left in second with his 35th goal of the season.
Philadelphia’s Nick Seeler fought Jansen Harkins in the third period.
The puck that Hughes smacked into the net in overtime to give the United States its first men’s Olympic hockey gold since the 1980 “Miracle on Ice” was seemingly forgotten amid the raucous celebration.
But this week, the Hockey Hall of Fame began displaying that puck along with the one Megan Keller knocked into the net in overtime to give the U.S. women’s team gold in Milan. The International Ice Hockey Federation apparently secured the frozen vulcanized rubber disks immediately after the games and handed them to the Hall of Fame located in Toronto.
Hughes is happy “his” puck surfaced but believes he is the rightful owner of a piece of memorabilia that David Kohler, president of SCP Auctions, estimated might be worth $1 million.
“I don’t see why Megan Keller or I shouldn’t have those pucks,” Hughes told ESPN. “I’m trying to get it. Like, that’s [B.S.] that the Hockey Hall of Fame has it, in my opinion. Why would they have that puck?”
Hughes might not like the answer. The provenance of the puck is similar to that of a basketball or football used in a notable moment. It is dissimilar to a historic home run because a baseball leaves the field of play, and the owner becomes the fortunate fan.
“Because of the increasing value of memorabilia, ownership of items has become standardized over the last decade or so,” said an expert who agreed to speak anonymously because they work in the acquisition of such items. “Whoever purchased the puck owns it. Jerseys belong to the team, shoes and gloves to the player, the puck to whoever supplied it to the Olympics.”
That would be the International Ice Hockey Federation, the governing body of the Olympics hockey tournament. The IIHF employees who immediately secured those precious pucks amid gold-medal bedlam apparently did their job well.
“The puck was designated for archival preservation with the Hockey Hall of Fame to ensure its long-term safekeeping and historical recognition,” an IIHF spokesperson said.
The pucks are featured in an “Olympics ‘26” display that also contains a hockey stick used by Brady Tkachuk of the U.S. team and a U.S. jersey worn by four-time Olympian Hilary Knight.
It might strike some as odd that the display is in Canada, where fans are mourning the loss to the United States, but that’s been the location of the Hall of Fame since it was established in 1943. HOF president Jamie Dinsmore said in a statement that the display contains “donated items,” although it is unclear whether the IIHF has donated or merely loaned the pucks to the HOF.
“The Olympics ’26 display will help ensure that these unforgettable Olympic moments are preserved for our guests from around the world to experience,” Dinsmore said.
Meanwhile, Hughes told ESPN he wants the puck to become the property of one particular fan — his father, who collects memorabilia for him and his brothers Quinn and Luke. All three play in the NHL.
“I wouldn’t even want it for myself. I’d want it for my dad. I know he’d just love, love having it,” Hughes said. “When I look back in my career, I don’t collect too many things for myself, but my dad’s a monster collector for the three of us. I know he would have a special place for it.”
Or it could be sold at auction, where certainly it would pay for any dental work Hughes needs after getting teeth knocked out during the gold-medal game. Various auction houses have estimated the value of the puck to be from $40,000 to $1 million.
Should he acquire the puck, though, Hughes might not even consider selling it. The first pick of the 2019 NHL draft, he signed an eight-year, $64 million contract extension with the New Jersey Devils four years ago.
Anxieties due to war. A culture inhospitable to LGBTQ+ communities. And an underpinning of loneliness and suppressed yearning.
The play “5 Lesbians Eating a Quiche” is set in 1956, but its themes resonate in 2026. The United States is at war. Attacks on gay marriage and other LGBTQ+ rights remain a cornerstone of today’s conservative movement. A reimagining of the 2011 production, one popular with universities and fringe festivals, seeks to further modernize the show in which a morning gathering quickly turns into a stay in a Cold War-era bomb shelter after near nuclear annihilation.
When I arrived at the back room of a Glendale church, I was given a new name. It was clear that “Todd” was not welcome here. “Joan” turned out to be a suitable replacement, and I was immediately asked how my life had been since my husband had died. For on this night I would no longer be occupying the role of a straight white male. Every audience member is asked to take on the persona of a widow, for losing a husband appeared to be a perquisite to enter this meeting of the Susan B. Anthony Society for the Sisters of Gertude Stein.
How did he die, I was asked. “Ski accident,” I blurted out. “Yours?” A camping travesty that led to a bear mauling, I was told. Ad-libbing, in addition to quiche, was on the menu tonight. Metaphors, absurdities and seriousness intermingle in this production from New Forms LA and directed by Marissa Pattullo.
Pattullo’s vision for “5 Lesbians Eating a Quiche” ramps up the interactivity, seeking to transform a largely traditional proscenium show, albeit one with a few moments of fourth-wall breaking, into one that is centered around audience participation. Staged in a flex space without a tinge of irony at the Glendale Church of the Brethren, “5 Lesbians,” written by Evan Linder and Andrew Hobgood, has been reconstructed as a largely immersive production, that is one that asks audiences to lean in and interact.
Jessica Damouni’s Ginny Cadbury devouring breakfast in “5 Lesbians Eating a Quiche,” a show that unfolds as a giant metaphor.
(New Forms LA)
While there is a small stage, it is used sparingly. The five-person cast roams the room, sitting at various circular tables to blur the lines between script and improvisation. Typically a svelte 75-minute show, on the night I saw the production it swelled to about two hours, allowing time for drinks, mingling and, of course, the eating of a quiche. Pattullo has added an intermission, with quiches courtesy of Kitchen Mouse and Just What I Kneaded included in the ticket.
For quiche, I was told often, was the primary topic of conversation at the Easter-timed meeting, so much so that it was clear within moments that this was a gathering not of breakfast enthusiasts but of the repressed. The hidden meaning is no secret; it’s in the title of the play.
“It’s a giant metaphor,” Pattullo, 30, says. The show, she adds, “keeps finding ways to make sense with the times, whether it’s Trump being elected, or we’re at war. Or gay marriage. All of those things. A bomb going off and being trapped inside. It speaks to whoever is watching it.”
Pattullo, who splits time building New Forms LA and serving tables at Los Feliz’s Little Dom’s, first discovered the show while in college in the Midwest. It immediately resonated, and Pattullo has been tinkering with ways to perform it live ever since. During the worst of the COVID-19 pandemic, she staged an online version of the show, and debuted it as an immersive production last winter. It’s back for two weekends this month.
“5 Lesbians” makes a relatively smooth transition to the immersive format. Perhaps that’s because the audience, in the script, is cast as attendees of the Susan B. Anthony Society for the Sisters of Gertude Stein’s brunch meeting, whose motto is “no men, no meat, all manners.” For about the first 30 minutes of the show we largely interact with the actors. Dale Prist (Nicole Ohara) has hidden ambitions. Vern Schultz (Chandler Cummings) seems ready for the group to cut its charade. Lulie Stanwyck (Noelle Urbano) is fighting so hard to stay prim and proper that she feels on the verge of bursting.
“I really like to play,” Pattullo says, referencing how “5 Lesbians” lends itself to improvisation. “Some of the girls I think are very ‘stick to the script.’ I’m like, ‘Stray from the script.’ If people come in late, call them out. If people are talking, call them out. You can adjust and improvise in immersive theater. Having a script but being able to break from it, is really fun for me. It tickles me.”
Wren Robin (Emily Yetter), Vern Schultz (Chandler Cummings) and Lulie Stanwyck (Noelle Urbano) protect breakfast in “5 Lesbians Eating a Quiche.”
(New Forms LA)
There’s an underlying tension in the show because it walks a line between silliness and graveness. Ultimately, “5 Lesbians” is about finding joy in dark times, and moments inspire uncomfortable laughter, such as jokes about gay marriage being legal in four years’ time (1960) or Ginny Cadbury (Jessica Damouni) devouring a quiche in a way that leaves nothing to the imagination. But it’s also a show about how stressful moments can bring about vulnerability and community, as the whole church practically exhaled when Wren Robbin (Emily Yetter) finally let her hair down and expressed who she truly was.
“5 Lesbians Eating a Quiche”
“Even when we did it back when I was in college, Trump had just won, so it just feels like it’s keeping relevant,” Pattullo says. The timeliness, she says, makes it such an amusing play to perform.
Pattullo will sometimes, depending on cast availability, take on a role in the show. It’s a chance, she says, to amplify the play’s wackiness, which she believes helps puts audiences at ease and makes its difficult subject matter easier to digest. She tries to create the most outlandish tale possible for when relaying to guests one on one how her husband perished.
“My story was a raccoon attack,” she says. “Because my husband thought the raccoon was behaving with foreign intent, like the raccoon was a spy or something. It was just stupid.”
Or it was evidence of how immersive theater can delight when it deviates from the script.
Bayern Munich may hand 16-year-old goalkeeper Leonard Prescott his first-team debut in the Champions League on Wednesday.
The German giants have three goalkeepers struggling with injury and if Jonas Urbig fails to recover from concussion then Prescott will play in the second leg of their last 16 tie against Atalanta, head coach Vincent Kompany said.
Urbig sustained his injury in Bayern’s 6-1 victory in Italy last week, while regular starter Manuel Neuer is working towards full fitness after a muscle tear and third-choice keeper Sven Ulreich picked up an adductor issue in Saturday’s 1-1 draw at Bayer Leverkusen.
“Jonas trained normally today [Tuesday]. The decision tomorrow will be a medical one,” Kompany said.
“If everything goes well then Urbig will be in goal. If not then we will have to find another solution.”
Prescott, a German youth international who plays for Bayern’s under-19s, will require clearance from German labour authorities to work in the evening as he is a teenager.
He has been on Bayern’s bench in their past two matches with fellow teenage keeper Leon Klanac, 19, also out with a thigh injury.
Reserve team keeper Janis Bartl, 19, has featured on the Bayern bench in two Bundesliga matches this season, but it is Prescott who Kompany will turn to if necessary.
“He [Prescott] is very calm. Overall, we as a staff are also calm. If he plays tomorrow he will have our full backing. Everyone will help,” Kompany added.
“There will never be a young player who will be forced to play a main role. We have full confidence in him whatever happens tomorrow.”
Neuer, a World Cup winner and 12-time Bundesliga champion with Bayern, has played 19 times in the league this season, with the 37-year-old’s last appearance coming on 6 March.
Urbig, 22, has played eight league matches, including six starts, while Ulreich, 37, made his first appearance of the season on Saturday.
Bayern, the defending Bundesliga champions and current league leaders, will face either Real Madrid or Manchester City in the last eight should they beat Atalanta.
Icelandic low‑cost airline PLAY entered administration and ceased operations on September 29, 2025, with all flights cancelled and around 400 staff affected
16:35, 17 Mar 2026Updated 17:35, 17 Mar 2026
The Icelandic airline announced it was ceasing operations with immediate effect(Image: Andrew Teebay Liverpool Echo)
Hundreds of workers were made redundant after a low-cost carrier announced it had entered administration.
Icelandic airline PLAY, headquartered in Reykjavík, confirmed it had ceased operations and grounded all its flights last September. A statement on the carrier’s website at the time read: “Dear passenger, Fly PLAY hf. has ceased operations, and all flights have been cancelled.”
According to local media outlet RUV, the move resulted in 400 people facing redundancy, with the company “trying to pay staff their wages”. It is unclear whether the affected employees have received their full payments.
PLAY was established in July 2019, starting operations from its base at Keflavík International Airport, Reykjavik, in June 2021. The carrier initially served six European destinations: Alicante, Tenerife, London, Paris, Copenhagen and Berlin. PLAY also ran services between London and Reykjavik, although prior to the announcement there were no seats on sale after November 1.
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The board of PLAY said in a statement at the time: “The board of Fly Play hf. has decided to terminate operations, and all of the company’s flights have been cancelled. The company will work closely with authorities and employees to implement the necessary steps for winding down operations.
“There are many reasons behind this decision. The company’s performance has long fallen short of expectations, ticket sales have been poor in recent weeks and months following negative media coverage, and internal disagreements among some employees regarding strategic changes have further strained the situation.”
Information disclosed by the board concerned modifications that failed to produce the required outcomes. They added: “Last fall, Play introduced a new business model that initially inspired significant optimism.
“Unfortunately, it has now become clear that these changes cannot deliver the results needed to overcome the airline’s deep-seated financial troubles. In hindsight, these measures would have needed to be implemented much earlier.”
ONE spot in the capital dubs itself ‘London’s quirkiest church’ because inside you’ll find a soft play – and a fully stocked bar for the parents.
Inside St James Church in West Hampstead, London, you will find the Sherriff Centre.
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In West Hampstead, London, there is a church with a soft play insideCredit: Instagram/thesherriffcentreThe soft play even has late sessions where you can go in the eveningCredit: Instagram/thesherriffcentre
Rather unusually, the venue is a blend of different things including a post office, children’s soft play centre, cafe and even a stationery shop.
The soft play area – called Hullabaloo – spans one side of the church and features all you would expect of a soft play centre.
In the section for kids aged between two and 10-years-old, there are three levels featuring two slides, crawl tunnels and hidey holes.
The soft play also has separate sections for babies up to 23 months with a ball pit, puzzles and games and a sensory mirror.
One person commented on social media: “Wow what a unique soft play!”
Another added: “What a fun idea and a great way to start the weekend.”
There are also SEN sessions available, and the venue is available for private party hire.
The Sanctuary Cafe and Bar serves cake, coffee and even wine.
Even though the venue doesn’t serve more than snacks, it has teamed up with Pizza Bun London in Hampstead for an exclusive offer for visitors heading to the soft play.
The soft play is open each day between 9am and 5pm, with the last booking at 4pm.
But there are Play Late sessions too, where kids can play as parents enjoy a glass of wine at the bar.
The next Play Late session is March 20, followed by April 10 and May 22.
Tickets cost £5.50 for babies or £7.50 for juniors and adults go free.
The centre also runs weekly baby and toddler classes such as Petite Performers, with ballet and dancing.
Sometimes there are Sofar Sounds live music events on at the church too.
Memberships are available for the soft play, with a babies membership costing £15 per month for four sessions.
Parents can grab a drink, including wine, at the bar and cafe in the churchCredit: TripAdvisor
A Bronze membership then costs £10 a month for two soft play sessions, Silver costs £20 a month for three sessions, a 10 per cent discount at the cafe and early access to book event tickets.
Finally, a Gold membership costing £40 per month, gets you six soft play sessions, a 10 per cent discount at the café, two Sofar Sounds tickets and early access to book event tickets.
The soft play is just a couple of minutes’ walking from West Hampstead underground and train stations.
It isn’t the only church to have something unusual inside…
In Redbridge, London, a swimming pool described as “magical” can be found in an old hospital church.
It is a Virgin Active gym now with a 24-metre pool as well as showers, hot tub and steam room.
HOUSTON — Aaron Judge doubled and Pete Crow-Armstrong and Brice Turang each had two hits as the United States beat Canada 5-3 on Friday night to reach the World Baseball Classic semifinals.
The U.S. squad rebounded after an 8-6 loss to Italy in pool play left them needing help to advance to this round.
The Americans move on to face the Dominican Republic in a semifinal on Sunday in Miami. It will be the team’s third straight appearance in the semifinals and the fourth overall.
It’s another big win for the U.S. over its neighbors to the north, coming after the U.S. hockey team beat Canada 2-1 in overtime to win the gold medal at the Milan Olympics last month.
Bo Naylor hit a two-run homer in Canada’s three-run sixth that cut the deficit to two runs. But the U.S. bullpen closed it out, capped by Mason Miller striking out the side in the ninth for the save.
Canada, which was in the quarterfinals for the first time, fell to 1-5 against the U.S. in the WBC.
Canada trailed by five runs when Owen Caissie walked with one out in the sixth and moved to second on a groundout by Abraham Toro. Tyler Black’s RBI single off Brad Keller cut the lead to 5-1.
Naylor’s shot to the second deck in right field came on Gabe Speier’s fifth pitch and got Canada within 5-3. It was the 10th home run the U.S. has yielded in five games in the tournament.
Canada had a shot to close the gap in the seventh when it had runners on second and third with no outs. But David Bednar retired the next three batters, with two strikeouts, to escape the jam.
U.S. starter Logan Webb gave up four hits and walked one with five strikeouts in 4⅔ innings.
Bobby Witt Jr. was on with one out in the first when Judge doubled before Witt scored on a groundout by Kyle Schwarber to give the U.S. an early lead. The double by Judge was the only extra-base hit of the night for the U.S.
Canada had a runner on first with two outs in the second when Witt made a leaping catch on a ball hit by Edouard Julien to end the inning.
The bases were loaded with two outs in the third when Alex Bregman singled on a groundball to Toro. His throw to first sailed over Josh Naylor’s head and into the dugout and two runs scored to make it 3-0.
Roman Anthony singled with one out in the sixth before a walk by Cal Raleigh. Turang singled on a grounder to center field to score Anthony and push the lead to 4-0. Crow-Armstrong sent the next pitch into center field for an RBI single before Witt grounded into a double play to end the inning.
NEW YORK — What makes life worth living? For hard-core “Harry Potter” fans with money to burn, it might be getting Broadway tickets to interact fleetingly with Daniel Radcliffe in “Every Brilliant Thing,” an ingenious and touching solo performance piece written by Duncan Macmillan with Jonny Donahoe on the subject of suicide — or more precisely, on the ordinary joys that militate against such a drastic step.
Radcliffe was breathlessly scampering up and down the aisles of the Hudson Theatre before the show began, enlisting audience members to be participants in the play. Having seen “Every Brilliant Thing” twice before, once at the Edye (the black box at Santa Monica’s BroadStage) starring Donahoe in 2017 and once at the Geffen Playhouse’s intimate Audrey Skirball Kenis Theater starring Daniel K. Isaac in 2023, I knew exactly what he was up to.
The play revolves around a list that the narrator began at the tender age of 7 after his mother first attempted suicide. While she was still in the hospital, he started compiling, as much for her benefit as for his own, sources of everyday happiness.
Ice cream, water fights, kind people who aren’t weird and don’t smell unusual. These items are given a number, and audience members assigned a particular “brilliant thing” are expected to shout out their entry when their number is called.
The list gradually grows in complexity as the narrator gets older. Miss Piggy, spaghetti bolognese and wearing a cape give way to more sophisticated pleasures, such as the way Ray Charles sings the word “You” in the song “Drown in My Own Tears” or the satisfaction in writing about yourself in the second person.
Music plays a prominent role in “Every Brilliant Thing,” which was adapted from a monologue/short story Macmillan wrote called “Sleeve Notes.” The narrator’s terribly British father takes refuge from the emotional storms of his household by listening to jazz records in his office. John Coltrane, Cab Calloway, Bill Evans, Nina Simone are favorite artists, and the narrator can tell his father’s mood simply by the record he’s decided to play.
The production, directed by Jeremy Herrin and Macmillan, involves every level of the Hudson Theatre. I assumed I would be safe, occupying an aisle seat in the murderously expensive prime orchestra during a press performance attended by critics. But I wasn’t flashing a pad as my colleague across the aisle from me was doing to ward off any intrusions. And just before the show was about to start, Radcliffe was suddenly kneeling beside my seat asking if the person I was sitting with was my partner.
I told him that we weren’t a couple, just friends, and that I would be the worst person he could possibly ask to perform anything. But Radcliffe wasn’t so easily put off. “Let’s just say that you’re an older couple who have been together for some time,” he whispered. “And all you have to do is hand me this box of juice and candy bar when I refer to the older couple.”
OK, what harm could there be? Little did I know that “older couple” was to become “old couple,” a term that seemed to be repeated incessantly, at least to my Gen X ears not yet accustomed to scurrilous millennial attacks! I composed myself by pretending that we were in the world of anti-realism. But in truth, I would like to be the kind of person who would offer an anxious kid in a hospital waiting room a juice box and a candy bar, so maybe the casting wasn’t so far-fetched after all.
Daniel Radcliffe in the Broadway production of “Every Brilliant Thing.”
(Matthew Murphy)
A theatergoer was called upon to play the vet who euthanized the narrator’s childhood pet, a dog named Indiana Bones that was symbolized by a coat someone volunteered from the audience. It was the boy’s first experience of death, a difficult concept for a young mind but an important precursor for a boy not given the luxury of existential innocence.
Other audience members, particularly those seated on the stage, played much more elaborate roles. One man, first invited to serve as a stand-in for the narrator’s father, was asked instead to play the boy. He was given one word to say in reply — “Why?” — as his father tries to explain the reason his mother is in the hospital. This same enlisted actor was later called upon to play the dad giving a toast at his son’s wedding, one of the rare occasions when he was able to summon language for the kind of deep feeling he would normally only be able to express through his records.
One kind and patient spectator conscripted to play the school counselor had to remove her shoe to improvise a sock puppet, one of the tools of her empathetic practice. Another audience member sensitively played Sam, the narrator’s love of his life, a relationship that reveals the long-term toll of being raised by a parent suffering from suicidal depression.
Radcliffe’s audience wrangling was as intuitively sharp as his deeply felt performance. He has the comfort of a good retail politician, who’s not afraid of making direct contact with crowds. Two-time Tony winner Donna Murphy, in the house at the reviewed performance, gamely went along when Radcliffe briefly enlisted her luminous services.
Obviously, Radcliffe is the main reason “Every Brilliant Thing” is on Broadway. The show, which began at Britain’s Ludlow Fringe Festival in 2013, is a gossamer piece, a 70-minute curio best experienced in close quarters without the high expectations and ludicrous prices of New York’s turbo-charged commercial theater. The Hudson Theatre lends a mega-church vibe to the proceedings, but the spirits of theatergoers are nonetheless moved.
A scruffy-faced Radcliffe, twinkling accessible geniality in jeans and a sweatshirt, zips up and down the cavernous theater as though waging a one-man campaign against the isolation epidemic. There’s no denying that Harry Potter has matured into an assured stage actor. His Tony-winning performance in “Merrily We Roll Along” should have put to rest any doubts, but the glare of his fame can still obscure his serious chops.
Sincere yet never smarmy, ironic without ever being cynical, well-groomed though far from swank, he’s a more glamorous version of the character than the one originated by Donahoe, the British comedian with an everyman demeanor whose portrayal seemed so genuine at the Edye that I mistakenly thought that the play was his personal story.
Donahoe’s performance was filmed for HBO, but “Every Brilliant Thing” is meant to be experienced in a theater. The whole point of the show is to transform the audience into an impromptu ensemble, a group of strangers emotionally united through the story of one young man’s intimate knowledge of suicide, a subject that Albert Camus called the “one truly serious philosophical problem.”
I’m of two minds about “Every Brilliant Thing.” I was moved once again by the piece, but I’m grateful I didn’t have to wreak havoc on my credit card to pay for my seats. I love the interactive, gentle humanity of the play, but I was also acutely aware of how the work has been commodified. I applaud Radcliffe’s willingness to carve an independent path as an actor, but I might have been more impressed by his adventurousness had he decided to perform in a pocket venue that didn’t have the tiers of pricing I associate with airlines.
Yet launching a conversation around mental health with an audience magnet as powerful as Radcliffe is on balance an excellent thing. And Radcliffe’s compassionate portrayal of a survivor recognizing that he’s not out of the woods just because he made it into adulthood is one of those things that makes a theater lover just a little more appreciative of the humanity at the center of this art form.
Travis Kelce will return for another season with the Kansas City Chiefs, who have also agreed a deal to sign Kenneth Walker, according to reports.
Kelce, a three-time Super Bowl winner, has spent his entire NFL career with the Chiefs and the veteran tight end is out of contract after his 13th season.
But a social media post, external by New Heights, the podcast he produces with his brother Jason, said: “He’s back! Travis Kelce is back with the Chiefs for year 14.”
Kansas City hoped the 36-year-old would commit to another season and NFL Network’s Ian Rapoport reported that Kelce has turned down more lucrative offers, external from other teams to agree a one-year deal worth up to $15m (£11.2m).
After reaching five Super Bowls in six years, the Chiefs missed the play-offs last season for the first time since the 2014 campaign.
During the regular season, Walker passed 1,000 rushing yards for the second time in four years with the Seattle Seahawks, and the 25-year-old then helped fill the void after fellow running back Zach Charbonnet suffered a torn ACL in the play-offs.
Walker led the NFL for most carries (65), rushing yards (313) and rushing touchdowns (four) during the post-season, becoming the first running back to be the Super Bowl MVP since 1998.
Champions Seattle were willing to let Walker test the free agency market and he will become the first Super Bowl MVP to immediately switch to a new team since 2003.
James entered Thursday’s game against the Denver Nuggets needing to make three field goals to pass Abdul-Jabbar for the most made field goals in league history. James tied Adbul-Jabbar’s mark for most regular-season field goals when he dunked off a lob pass from Luka Doncic with 8:33 left in the first quarter.
He set the new mark of 15,838 with a fadeaway jumper near the Lakers’ bench with 11.8 seconds left in the first quarter.
When James went to the bench with the Lakers trailing 32-22 at the end of the quarter, the Denver Nuggets’ public address announcer told the crowd about his accomplishment. James was given a standing ovation from the fans at Ball Arena.
“LeBron’s greatest hits, he just keeps adding to them,” said Lakers coach JJ Redick before the game. “He just plays and plays and plays. And the greatest hits are just… he’s got a hell of a catalog.”
US President Donald Trump has said he “does not care” if Iran take part in this summer’s 2026 World Cup.
Trump’s comments come amid US and Israeli strikes on Iran, which has responded by launching attacks on US-allied states in the Gulf in an escalating conflict.
The US is co-hosting the World Cup which takes place between 11 June and 19 July, along with Canada and Mexico.
Sunday marked Senior Night for the USC women’s basketball team at Galen Center, but it was the other team’s seniors who stole the show.
Gabriela Jaquez scored 14 points, Kiki Rice had 11 points and four assists and Lauren Betts had 15 rebounds as UCLA wrapped up the regular season with a 73-50 victory over its rival and finished undefeated in conference play for the first time since going 18-0 in the Pac-10 in 1998-99 under Kathy Olivier.
Having already clinched the regular-season title, UCLA became the first team to navigate the Big Ten schedule without a loss since Maryland in 2014-15.
It was the Bruins’ 22nd consecutive win, one shy of the record they set last season. Since their lone loss to then-No. 4 Texas on Nov. 26 in Las Vegas, they have won by 20 or more points 16 times.
Ranked second in the nation in both the Associated Press and coaches’ polls behind defending national champion Connecticut (30-0), the Bruins earned the No. 1 seed for the conference tournament in Indianapolis and got a bye into Friday’s quarterfinals.
Charlisse Leger-Walker finished with a game-high 20 points for the Bruins while Gianna Kneepkens added 14 points and five assists.
UCLA center Lauren Betts, left, controls the ball in front of USC forward Vivian Iwuchukwu during the first half Sunday.
(Eric Thayer / Los Angeles Times)
UCLA (28-1, 18-0) held USC to 27% shooting in the teams’ first meeting — a 34-point Bruins victory at Pauley Pavilion on Jan. 3 behind Betts’ 18 points. It was USC’s most lopsided loss under coach Lindsay Gottlieb. On Sunday, USC (17-12, 9-9) shot 39% and was only three for 19 from three-point range.
UCLA jumped out to a 14-4 lead in the first five minutes and carried a 19-11 advantage into the second quarter. The Bruins widened the gap to 18 points by halftime, holding the Trojans scoreless for the last 3:08.
Mum of two Hannah Britt is a fan of a family road trip, but driving with young children in tow can be tough. Here she shares how to keep them entertained, not a screen in sight
21:38, 01 Mar 2026Updated 21:40, 01 Mar 2026
It is possible to have fun in the car, honest!(Image: Getty)
I’m a mum of two, my children are six and one. And as a family we like to travel. One of the things we tend to do the most is hop in the car from our home in Manchester and drive to the Lake District, or Scotland. Having the car with us means we can lug all the things we need for the children and get to our destination under our own steam. But keeping my little ones entertained can be tricky.
On a recent trip to the Lake District, my good friends at Volvo were kind enough to lend us one of their cars to try – the XC60 Plus plug-in hybrid. It came with a promise: the children will love it. And it gave me an idea, could I entertain them the whole 90 minute journey without a screen or toy in sight?
Best for: my six year old. How it’s done… Select a Spy: One person is chosen to be the “spy”. Choose an Object: The spy selects an object in plain sight of all players but keeps it secret. Give a Clue: The spy says, “I spy with my little eye something…” followed by a hint. By Letter: “…beginning with the letter [letter]” (e.g.”B” for ball). By Colour: “…that is [colour]” (e.g. “Red”). By Description: “…that is [shape/size]” (e.g. “Round”). Guess the Object: Other players take turns guessing the object. Switch Roles: The person who correctly guesses the object becomes the new spy for the next round.
NURSERY RHYMES
Best for: both my one year old and my six year old. How it’s done… there couldn’t be more famous nursery rhymes to choose from, some even have actions to increase the fun and interactivity.
Twinkle, Twinkle, Little Star: A soothing lullaby about a star.
Humpty Dumpty: A classic rhyme about a fragile egg.
Ba Ba Black Sheep: A rhythmic, repetitive poem.
Row, Row, Row Your Boat: A gentle, interactive, and rhythmic song.
Old MacDonald Had a Farm: A fun, interactive song for learning animal sounds.
Jack and Jill: A well-known rhyme about a trip up a hill.
Hickory Dickory Dock: A classic rhyme featuring a mouse and a clock.
London Bridge Is Falling Down: A traditional game song.
Mary Had a Little Lamb: A familiar tale about a loyal lamb.
The Itsy Bitsy Spider: An action-based song
YELLOW CAR
Best for: my six year old, but my one year old did join in too. How it’s done… To play, simply see who is first to spot a yellow car. First to five or 10 wins. Once you’ve done yellow, move onto other colours. And then play spotting other things, like a helicopter, a tractor and a broken down car.
SPOT THE SHEEP
Best for: my one year old, but my six year old did enjoy. How it’s done… Choose an animal everyone recognises – and one you’re likely to see. There’s no point picking a zebra in Derbyshire! Then simply see who is the first to spot one. Once you get to the countryside you can elevate Spot the Sheep to Count the Sheep – and see who can be the first to spot 100.
WOULD YOU RATHER?
Best for: my six year old. How it’s done… This is a fun, thought-provoking question game to spark conversation. Choose age appropriate things to ask about, examples of which could be:
Food & Silly Choices
Would you rather eat broccoli-flavoured ice cream or fish-flavoured cookies?
Would you rather have a bath full of baked beans or mushy peas?
Would you rather eat only pizza for a year or only tacos for a year?
Would you rather drink hot chocolate or a milkshake?
Would you rather swim in a pool of jelly or a pool of marshmallows?
Superpowers & Magic
Would you rather be able to fly or be invisible?
Would you rather have the power to control time or control the weather?
Would you rather have a magic carpet or a teleportation device?
Would you rather be able to speak to ghosts or aliens?
Would you rather have a pet unicorn or a dragon?
Animal & Nature
Would you rather have a tail like a lemur or a trunk like an elephant?
Would you rather roar like a lion or hiss like a snake?
Would you rather have fur like a bear or scales like a fish?
Would you rather be a tree or a flower for a day?
Would you rather live in a jungle or a desert?
School & Daily Life
Would you rather have as many toys as you wanted or as many books as you wanted?
Would you rather go to the park or go to the zoo?
Would you rather be a superhero or a super-villain?
Would you rather live on land or under the sea?
Would you rather build a treehouse or a go-kart?
NUMBER PLATE GAME
Best for: my six year old. How it’s done… See if you can spot number plates from different countries while on your journey. Or see if you can do the whole alphabet, A, B, C and so on. You can make up stories, prompted by the letters too.
*The Volvo XC60 Plus plug-in hybrid costs £63,850, find out more at volvocars.com
The lovely, funny “American Classic,” premiering Sunday on MGM+, is a love letter to theater, community and community theater. Kevin Kline plays Richard Bean, a narcissistic stage actor. He’s famous enough to be opening on Broadway in “King Lear,” but he has to be pushed onstage and is forgetting lines. After he drunkenly assails a hostile New York Times critic — caught on video, of course — he’s suspended from the play, and his agent (Tony Shalhoub) advises him to get out of town and lay low until the heat’s off, as they used to say in the gangster movies.
Learning that his mother (Jane Alexander, acting royalty, in film clips) has died, Richard heads back to his small Pennsylvania hometown, where his family — all actors, like the Barrymores, but no longer acting — owns a once-celebrated theater. To Richard’s horror, it has, for want of income, become a dinner theater, hosting touring productions of “Nunsense” and “Forever Plaid” instead of the great stage works on which he cut his teeth.
Brother Jon (Jon Tenney), running the kitchen at the theater, is married to Kristen (Laura Linney), Richard’s onetime acting partner, who dated him before her marriage; now she’s the mayor. Their teenage daughter, Miranda (Nell Verlaque) — a name from Shakespeare — does want to act and move to New York, as her mother had before her, but is afraid to tell her parents. Richard’s father, Linus (Len Cariou), is suffering from dementia, though not to the point he won’t actively contribute to the action; every day he comes out again as gay.
Across the eight-episode series, things move from the ridiculous to the sublime. Richard’s attempt to stage his mother’s funeral, with her coffin being lowered from the ceiling, while “Also sprach Zarathustra” plays and smoke billows toward the audience, fortunately comes to naught; but he announces at the ceremony that he’ll direct a production of Thornton Wilder’s 1938 play “Our Town” at the theater, to “restore the soul of this town.” (His big idea is to ignore Wilder’s stage directions, which ask for no curtain, no set and few props, with a “realistic version,” featuring a working soda fountain, rain effects and a horse.) Fate will have other plans for this, and not to give away what in any case should be obvious, the title of the play will also become its ethos, with a cast of amateurs, including Miranda’s jealous boyfriend, Randall (Ajay Friese), and ordinary people standing in for the ordinary people of Wilder’s Grover’s Corners.
The series has a comfortable, cushiony feeling; it’s the sort of show that could have been made as a film in the 1990s, and in which Kline could have starred as easily in his 40s as in his 70s; it has the same relation to reality as “Dave,” in which he played a good-hearted ordinary Joe who takes the place of a lookalike U.S. president. The town is essentially a sunny place, full of mostly sunny people, to all appearances, a typical comedy hamlet. But we’re told it’s distressed, and Mayor Kristen is in transactional cahoots with developer Connor Boyle (Billy Carter), who wants clearance to build a casino on the site of a landmark hotel. (Much of the plot is driven by money — needing it, trading for it, leaving it, losing it.) He also wants his heavily accented, bombshell Russian girlfriend, Nadia (Elise Kibler), to have a part in “Our Town.”
As in the great Canadian comedy “Slings & Arrows,” set at a Shakespeare Festival outside of Toronto, themes and moments and speeches from the play being performed are echoed in the lives of the performers, while the viewer experiences the double magic of watching a fine actor playing an actor playing a part. Kline, of course, is himself an American classic, with a long stage and screen career that encompasses classical drama, romantic and musical comedy and cartoon voiceovers; the series makes room for Richard to perform soliloquies from “Hamlet” and “Henry V,” parts Klein has played onstage. He brings out the sweetness latent in Richard. Linney, who played against her sweetheart image in “Ozark,” is happily back on less deadly ground (though she’s tense and drinks a little). Tenney, who was sweet and funny on “The Closer,” and who we don’t see enough of these days, is sweeter and funnier here, and gets to sing. (All the Beans will sing, except for Linus.)
As a comedy, it is often predicable — you know that things will work out, and some major plot points are as good as inevitable — but it’s the good sort of predictability, where you get what you came for, where you hear the words you want to hear, ones you could never have written yourself. “American Classic” is not out to challenge your world view in any way but wants only to confirm your feelings and in doing so amplify them. Shock effects are fine in their place — and to be sure there are major twists in the plot — but there is a certain release when the thing you’re ready to have happen, happens, whether it brings laughter or tears. Either is welcome.
Elsewhere, Barcelona will face Newcastle, Tottenham will play Atletico Madrid, and Arsenal will take on Bayer Leverkusen.
Published On 27 Feb 202627 Feb 2026
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Real Madrid will play Manchester City while defending champions Paris Saint-Germain will face Chelsea in the pick of the 2025/26 Champions League last 16 games after the draw was made by UEFA in Nyon, Switzerland.
The draw for European football’s biggest club competition on Friday determined that City will face Madrid for the fourth consecutive season in a knockout Champions League clash.
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Meanwhile, PSG and Chelsea will repeat their FIFA 2025 Club World Cup final, which the Premier League side won 3-0.
Elsewhere, Barcelona will face Newcastle United, Tottenham Hotspur will play Atletico Madrid, and Arsenal will take on Bayer Leverkusen.
Liverpool will renew hostilities with Galatasaray in a rematch of their league phase game, which the Turkish giants won 1-0 in Istanbul.
Norwegian minnows will face Portugal’s Sporting Lisbon, while the only Italian side left in the competition face a daunting encounter with German champions Bayern Munich.
The first legs will be played on March 10-11 and the second legs will be played on March 17-18.
The eight seeded teams – who finished in the top eight spots in the league phase – will be at home for the second legs against the eight teams who qualified through the playoff round.
The last 16 draw in full:
Paris Saint-Germain vs Chelsea
Galatasaray vs Liverpool
Real Madrid vs Manchester City
Atalanta vs Bayern Munich
Newcastle vs Barcelona
Atletico Madrid vs Tottenham Hotspur
Bodo/Glimt vs Sporting
Bayer Leverkusen vs Arsenal
Familiar foes
Real Madrid knocked City out in the last 16 last season, as they did in the 2024 quarterfinals and 2022 semifinals.
City beat Madrid in the 2023 semifinal en route to lifting the Champions League trophy for the first time.
The two clubs have played each other on 15 occasions, with each team winning five games and the rest ending as draws.
City and Madrid have already faced each other in the league stage this season, with City coming from behind to win 2-1 in December.
PSG will be eager to take revenge on Chelsea after the Blues stunned the French champions to win the inaugural the Club World Cup title in a bad-tempered game last year.
The clubs have previously faced each other in the Champions League, with Chelsea triumphing in a 2014 quarterfinal and PSG eliminating the Blues in the last 16 in 2015 and 2016.
Chelsea’s Cole Palmer celebrates scoring against PSG in the Club World Cup final with Joao Pedro [Hannah Mckay/Reuters]
The draw on Friday also mapped out the potential route to the final, to be held in Budapest on May 30, as every team now knows their possible quarterfinal and semifinal opponents.
In the quarterfinals, City or Madrid will face the winner of Bayern Munich vs Atalanta, while PSG or Chelsea will take on either Liverpool or Galatasaray.
Quarterfinal draw
Paris Saint-Germain or Chelsea vs Liverpool or Galatasaray
Real Madrid or Manchester City vs Bayern Munich of Atalanta
Newcastle or Barcelona vs Tottenham or Atletico Madrid
Sporting Lisbon or Bodo/Glimt vs Arsenal or Bayer Leverkusen
Semifinal draw
Paris Saint-Germain, Chelsea, Liverpool or Galatasaray vs Real Madrid, Manchester City, Bayern Munich of Atalanta
Newcastle,Barcelona, Tottenham or Atletico Madrid vs Sporting Lisbon, Bodo/Glimt, Arsenal or Bayer Leverkusen
