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As we mentioned last time when Sabrina Carpenter hosted “Saturday Night Live,” there’s no substitute for a host who fully throws themselves into “SNL.”

He may not have done double duty as host and musical guest the way Carpenter did, but Miles Teller appeared to fully embrace the challenge of returning to host for a second time (the first was in 2022). The “Top Gun 2: Maverick” star, who’ll next be appearing in the movie “Eternity,” gave a solid performance, appearing in nearly every sketch, including the cold open and two pre-recorded videos.

He first appeared as former Gov. Andrew Cuomo, a candidate for New York mayor, in the cold open with help from Ramy Youssef and Shane Gillis as opponents Zohran Mamdani and Curtis Sliwa.

After that, Teller played a hungover game show contestant recovering from Halloween, a hockey player shooting a public service announcement for the unfortunately named Nashville Predators and both twin Property Brothers in a video sketch about the current White House renovation.

Teller was also in a sketch about a TV newsroom that decides to show viewers what its background employees are doing, a Netflix promo for a true crime story about husbands who don’t know where their wives went, one about a police press conference that takes a turn and a show closer about a silly Italian restaurant in Nebraska.

Teller handled it all well; he’s good with accents and earned strong laughs, especially playing two characters at the same time in the “Property Brothers” sketch and as Cuomo in the cold open.

Musical guest Brandi Carlile performed “Church & State” and “Human.”

This week’s cold open was one of the stronger (or at least funnier) political sketches of the season so far, tackling the New York mayoral race. As hosted by Errol Louis (Kenan Thompson), “the least famous person to be impersonated on ‘SNL,’ ” the debate sketch portrayed Cuomo (Teller) as a sexually harassing (“Yadda yadda yadda, honk honk, squeeze squeeze) panderer to Jewish voters; Mamdani (Youssef) as a force-smiling, TikTok-flirting candidate who’s pretty sure he won’t be able to implement his promises; and long-shot candidate Sliwa (Gillis) as an “old-fashioned New York nut” with one traumatic story after another to recount. The biggest surprise may have been Gillis, who as Sliwa recounted stories about being hung by his testicles and getting assaulted by a Times Square Spider-Man. Where was this energy when Gillis hosted “SNL”? As has been the habit on many a cold open, President Trump (James Austin Johnson) interrupts the proceedings to mock the candidates and insert his own commentary. This time, that included singing a song from “Phantom of the Opera” to conclude the sketch.

Teller’s monologue was short and simple, relaying how as a kid who moved around most of his childhood, “SNL” was a constant. He shared a photo of himself and his sisters dressed up as the “Night at the Roxbury” characters from the show and then made up a list of memories from the show, like having his first beer in the audience and falling over after having a few beers. Teller mentioned that he and his wife lost their Palisades home in January’s Los Angeles fires. As such, he made sure to point out the fire exits for the audience.

Best sketch of the night: An extreme White House makeover

The Property Brothers Jonathan and Drew Scott (Teller times two) meet their toughest clients yet: Trump and First Lady Melania Trump (Chloe Fineman) who need help with their current renovation of the White House to make room for a new ballroom. Melania shared her skeleton and withered tree decorations (“They are for Christmas,” she said), and the couple complained that 55,000 square feet and 132 rooms just isn’t enough space. With a budget of “$350 million to infinity” the brothers get to work with the help of park rangers and astronauts working through the government shutdown. But when it comes to getting paid for their work, there’s a problem. “Aren’t you guys from Canada?” the president asks. Then he calls ICE on them.

Also good: Nobody asked for this much transparency in news

On a show called Newspoint, the host (Fineman) and her guest (Thompson) are trying to have a serious news discussion, but because the show has opened up its full newsroom to viewers, all the workers in the background draw attention. Among them are Mikey Day, who awkwardly notices the cameras are on him before spilling a carrier of drinks, Bowen Yang as a worker who gets electrocuted by a copy machine and Teller, who has manga erotica up on his work screen. It’s nice to see some physical comedy from Day in particular and the sketch’s visual gags work nicely.

‘Weekend Update’ winner: George Santos is back, untruthful as ever!

Andrew Dismukes and Ashley Padilla (who should be a full cast member at this point instead of a featured player) played a couple who just made out but are trying to discuss the government shutdown. But it was Yang as chronic liar George Santos who stole “Update” (and some jewels) after Yang missed an opportunity on the last “SNL” episode to play the former representative, whose prison term was commuted by Trump. Santos claimed he finished the New York marathon, which hadn’t happened yet, and kept interrupting his chat with “Update” co-host Colin Jost to take calls with prisoners with a jail window and phone he brought with him. He purported to speak with Ghislaine Maxwell, Luigi Mangione and Sean “Diddy” Combs before revealing that the key to making prison rice pudding is preheating the toilet to 350 degrees. Santos ended the segment by revealing the necklace he stole from the Louvre and insisting that he’d just won the World Series.

Many actors talk about process but Ethan Hawke has made the act of creation central to his work. He’s played musicians and writers and when he’s gone behind the camera, he’s focused on the stories of composers, novelists, movie stars and country singers both famous and forgotten. Sometimes, it feels like he’s the unofficial patron saint of art suffering, fixated on the glory and anguish of putting yourself out there in the world.

So Hawke’s portrayal of Lorenz Hart, the brilliant but troubled lyricist responsible for beloved tunes like “My Funny Valentine,” in a story set shortly before his death would seem to be just the latest chapter of a lifelong obsession. But “Blue Moon,” Hawke’s ninth collaboration with director Richard Linklater, cuts deeper than any of his previous explorations. Imagining Hart on the night of his former collaborator Richard Rodgers’ greatest triumph — the launch of “Oklahoma!” — Linklater offers a wistful look at a songwriter past his prime. But the film wouldn’t resonate as powerfully without Hawke’s nakedly vulnerable portrayal.

It is March 31, 1943, eight months before Hart’s death at age 48 from pneumonia, and Hart has just gruffly left the Broadway premiere of “Oklahoma!” Arriving early at Sardi’s for the after-party, he plants himself at the bar, complaining to bartender Eddie (Bobby Cannavale) that the show will be a massive success — and that it’s garbage. Eddie nods in a way that suggests he’s often lent a sympathetic ear to Hart’s rantings, allowing him to unload about the show’s supposedly banal lyrics and corn-pone premise and, worst of all, the fact that Rodgers will have his biggest smash the moment he stops working with Hart after nearly 25 years. “This is not jealousy speaking,” Hart insists, fooling no one.

As played by Hawke, Hart adores holding court, entertaining his captive audience with witty put-downs and gossipy Broadway anecdotes. Begging Eddie not to serve him because of his drinking problem, which contributed to the dissolution of his partnership with Rodgers, this impudent carouser would be too much to stand if he also wasn’t such fun company. But eventually, Rodgers (Andrew Scott) and his new lyricist Oscar Hammerstein II (Simon Delaney) are going to walk through that door and Hart will have to swallow his pride and pretend to be happy for them. From one perspective, “Blue Moon” is about the beginning of “Oklahoma!” as a pillar of American theater. From another, it’s Hart’s funeral.

Set almost exclusively inside Sardi’s, “Blue Moon” has the intimacy of a one-man stage show. After Hart vents about “Oklahoma!,” he readies himself for the arrival of Elizabeth (Margaret Qualley), a gorgeous Yale undergrad he considers his protégée. (He also claims to be in love with her, which baffles Eddie, who rightly assumed otherwise.) If the universal acclaim of “Oklahoma!” will force Hart to confront his professional irrelevance, maybe Elizabeth’s beaming presence — and the promise of them consummating their feelings — will be sufficient compensation.

Linklater, the man behind “School of Rock” and “Me and Orson Welles,” has made several films about creativity. (In a few weeks, he’ll debut another movie, “Nouvelle Vague,” which focuses on the making of Jean-Luc Godard’s epochal “Breathless.”) But what distinguishes “Blue Moon” is that, for once, it’s about someone else’s achievement — not the main character. Fearing he’s a has-been, the diminutive, balding Hart slowly succumbs to self-loathing. He can still spitefully quote the negative reviews for his 1940 musical “Pal Joey.” And he nurses a paranoid pet theory that Rodgers decided to collaborate with Hammerstein because he’s so much taller than Hart. (“Blue Moon” incorporates old-fashioned camera tricks to help Hawke resemble Hart’s under-five-feet frame.) Linklater’s movies have frequently featured affable underdogs, but by contrast, “Blue Moon” is an elegy to a bitter, insecure man whose view of himself as a failure has become a self-fulfilling prophecy.

Of the many artists Hawke has honored on screen, he has never depicted one so touchingly diminished — someone so consumed with envy who nonetheless cannot lie to himself about the beauty of the art around him. Turning 55 next month, Hawke shares with Hart an effusive passion for indelible work but also, perhaps, a nagging anxiety about the end of his creative usefulness. If he were younger, Hawke would have come across as self-regarding. Here, there’s only a poignantly egoless transparency, exposing the lyricist’s personal flaws — his drunkenness, his arrogance — while capturing the fragile soulfulness that made those Rodgers and Hart tunes sing.

Apropos of his relaxed approach, Linklater shoots “Blue Moon” with a minimum of fuss, but one can feel its enveloping melancholy, especially once the next generation of artists poke their head into the narrative. (Sondheim diehards will instantly identify the brash young composer identified only as “Stevie.”) But neither Linklater nor Hawke is sentimental about that changing of the guard.

That’s why Hawke breaks your heart. All of us are here for just a short time: We make our mark and then the ocean comes and washes it away. In an often remarkable career, Hawke has never embraced that truth so completely as he does here. Ultimately, maybe the work artists leave behind isn’t their most important contribution — maybe it’s the love they had for artistry itself, a passion that will inspire after they’re gone. That’s true of Lorenz Hart, and it will hopefully prove true of Hawke and this understated but profound film for years to come.

It’s easy to miss the confidence of Billy Wilder or Frank Capra whenever some brave soul tries to make a comedy that takes America’s temperature by straddling cynicism and optimism. Those Hollywood masters could handily juggle the sweet, sour and satirical and, in Wilder’s case, even leave you believing in a happy ending.

With his writing-directing feature debut, “Good Fortune,” however, Aziz Ansari, who stars alongside Seth Rogen and Keanu Reeves (as an angel named Gabriel), swings big, hoping to capture that jokey truth-telling vibe about the State of Things. His subject is a fertile one too: the gig economy fostering our crushing inequity, but also the desperation of the have-nots and how oblivious the wealthy are about those who made them rich. So let’s stick it to the billionaires! Let Keanu help the downtrodden!

Ansari’s high-low morality tale, set in our fair (and unfair) Los Angeles, is a friendly melding of celestially tinged stories (“Heaven Can Wait,” “Wings of Desire”) and body-swap comedies (“Trading Places”). But as agreeable as it is, it can’t square its jabs with its sentimentality. It’s got heart, kind eyes, a wry smile and some funny lines, but no teeth when you really need things bitten into, chewed up and spit out.

Ansari plays Arj, living a serious disconnection between his professional identity — wannabe Hollywood film editor — and how he actually exists: task-gigging for scraps and living in his car. When a garage-reorganizing job for Jeff (Rogen), a Bel-Air venture capitalist, turns into an assistant position, Arj feels secure enough to use the company card for a fancy dinner with occasional colleague and romantic interest Elena (an underused Keke Palmer). Jeff clocks the charge the next day, though (a realistic detail about the rich watching every penny), and immediately fires Arj.

All along, Arj’s sad situation has touched Reeves’ long-haired, khaki-suited angel, whose life-saving purview (he specializes in jostling distracted drivers) is low in the hierarchy overseen by boss guardian Martha (Sandra Oh). Gabriel wants a big healing job to show Arj, with a little role-reversal magic, that being Jeff isn’t all it’s cracked up to be. Except, of course, it is. (David Mamet’s line “Everybody needs money — that’s why they call it money” comes to mind.) The newly luxe-and-loving-it Arj shows no signs of wanting to switch back (which is apparently his call to make in the rules of this scenario), leaving out-of-his-depth Gabriel in the position of convincing a sudden billionaire why he should go back to being poor.

Which is where “Good Fortune,” for all its grasp of how Depression-era screwball comedies made the filthy rich mockable, struggles to match its issue-driven humor with its fix-it heart. While it’s funny to watch Rogen’s freshly desperate character suffer food-delivery humiliation, buying the script’s changes of heart — and the film’s naïve idea of where everyone should be at the end — is another matter. That’s why screwball comedies didn’t try to upend capitalism, just have some clever fun with it and let a simple love story stick the landing. Ansari’s ambition is admirable but he’s better at diagnoses than solutions.

His gold-touch move is giving the hilariously deadpan Reeves one of his best roles in years: a goofy meme brought to disarming life and the movie’s beating heart. Doing good can be hard work; understanding humans is harder. Plus, Reeves makes eating a burger for the first time a sublimely funny reaffirmation that sometimes, indeed, it is a wonderful life.

On Saturday, a home belonging to a South Carolina Circuit judge burned to the ground. Three people, including the judge’s husband and son, were hospitalized with serious injuries.

The cause of the fire was not immediately clear. An investigation is underway.

Obviously, the harm and destruction were terrible things. But what turned that particular tragedy into something more frightful and ominous is the fact the judge had been targeted with death threats, after ruling against the Trump administration in a lawsuit involving the state’s voter files.

Last month, the judge, Diane Goodstein, temporarily blocked South Carolina from releasing data to the U.S. Department of Retribution, er, Justice, which is turning over tables in search of “facts” to bolster President Trump’s lies about a stolen 2020 election.

Among those who criticized the decision, which was reversed by South Carolina’s Supreme Court, was Harmeet Dhillon, the San Francisco attorney who now heads the Justice Department’s beleaguered Civil Rights Division.

Here’s a short quiz. Using professional norms and human decency as your guide, can you guess what Dhillon did in the aftermath of the fire?

A) Publicly consoled Goodstein and said the Justice Department would throw its full weight behind an urgent investigation into the fire.

B) Drew herself up in righteous anger and issued a ringing statement that denounced political violence, whatever its form, whether perpetrated by those on the left, right or center.

C) Took to social media to troll a political adversary who raised concerns about the targeting of judges and incendiary rhetoric emanating from the Trump administration.

If you selected anything other than “C,” you obviously aren’t familiar with Dhillon. Or perhaps you’ve spent the last many months in a coma, or cut off from the world in the frozen tundra of Antarctica.

The cause of the fire could very well turn out to be something unfortunate and distinctly nonpolitical. Faulty wiring, say, or an unattended pot left on the stove. South Carolina’s top law enforcement official said a preliminary inquiry had so far turned up no evidence that the fire was deliberately set.

What matters, however, is Dhillon’s response.

Not as someone with a shred of sympathy, or as a dogged and scrupulous seeker of truth and justice. But as a fists-up political combatant.

The timing of the blaze, the threats Goodstein received and the country’s hair-trigger political atmosphere all offered more than a little reason for pause and reflection. At the least, Goodstein’s loss and the suffering of her husband and child called for compassion.

Dhillon, however, is a someone who reacted to the 2022 hammer attack on former House Speaker Nancy Pelosi’s husband not with concern but rather cruel and baseless conspiracy claims.

By then, Dhillon — a critic of Trump before he won the 2016 Republican nomination — had shape-shifted into one of his most vocal backers, a regular mouthpiece on Fox News and other right-wing media. Her pandering paid off with her appointment to the Justice Department, where Dhillon is supposed to be protecting the civil and constitutional rights of all Americans — not just those in Trump’s good graces.

There’s plenty of tit-for-tat going around in today’s sulfurous climate. Indeed, the jabbing of fingers and laying of blame have become something of a national pastime.

The administration asserts left-wing radicals are responsible for the killing of conservative activist Charlie Kirk and a sniper attack on the ICE field office in Dallas. Those on the left blame Trump and his venomous vassal, Stephen Miller, for the incineration of Goodstein’s home.

When Neera Tanden, a liberal think-tank leader and prolific presence on social media, suggested there might be a connection between the blaze and Miller’s hate-filled rhetoric, Dhillon responded like a juvenile in a flame war. “Clown … grow up, girl,” Dhillon wrote on X.

When a spokesman for Gov. Gavin Newsom pointed a finger at Dhillon and her criticism of the South Carolina judge, Dhillon seized on some over-the-top responses and called in the U.S. Marshals Service. “We will tolerate no such threats by woke idiots, including those who work for @GavinNewsom,” Dhillon said.

All around, a sad display of more haste than good judgment.

That said, there is a huge difference between a press staffer getting his jollies on social media and the assistant attorney general of the United States playing politics with personal calamity.

And, really, doesn’t Dhillon have better things to do — and better ways of earning her pay — than constantly curating her social media feed, like a mean girl obsessing over likes and followers?

Worse, though, than such puerile behavior is what Dhillon embodies: an us-vs.-them attitude that permeates the administration and treats those who didn’t vote for Trump — which is more than half the country — as a target.

It’s evident in the talk of shuttering “Democrat” agencies, as if federal programs serve only members of one party. It’s manifest in the federal militarization of Democratic-run cities and the cutting off of funding to blue states, but not red ones, during the current government shutdown.

It’s revealed in the briefings — on military plans, on operations during the shutdown — given to Republican lawmakers but denied to Democrats serving on Capitol Hill.

Dhillon is just one cog in Trump’s malevolent, weaponization of Washington. But her reflexively partisan response to the razing of Judge Goodstein’s home is telling.

When the person in charge of the nation’s civil rights enforcement can’t muster even a modicum of civility, we’re living in some very dark times indeed.

Calabasas High senior Elie Samouhi, who considers himself a music producer, performer and writer of songs, got to do his own two-minute concert in front of fans on Friday night before the Los Alamitos-Calabasas football game.

He played the national anthem on his electric guitar. And it was good.

Like a coach trying to give his student confidence, Samouhi’s teacher kept telling him before he began, “You got this.”

You could see how much he enjoyed the spotlight during the rendition.

Samouhi said he’s been playing guitar since he was 5. He’s 18 and hopes to attend USC or NYU.

It was another positive experience during high school sports competition.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

“Is football a game or a religion?” the sports broadcaster Howard Cosell once asked with exasperation. The horror film “Him,” a striking but vacuous gridiron Grand Guignol by Justin Tipping (“Kicks”) takes it as faith that the answer is both. Any fan with a sacred good luck ritual and any player who’s thanked the man upstairs for a touchdown knows the two overlap as tightly as a freshly laced pigskin.

In the home of young elementary schooler Cameron Cade (Austin Pulliam), the fictional San Antonio Saviors quarterback Isaiah White (Marlon Wayans) is the messiah. Next to the TV, there’s even a shrine with devotional portraits of their icon. When White wins a game while suffering a nasty injury, Cameron’s father seizes the moment to deliver a sermon: “That’s what real men do,” he insists. “They make sacrifices.” The candles on the altar flicker ominously.

Tipping, working from a Blacklist script by Skip Bronkie and Zack Akers with Jordan Peele as his producer, considers the sports-as-religion idea so obvious that the film doesn’t bother analyzing why it exists. Instead, “Him” wonders what kind of spiritual practice it is: hero worship or a sinister cult?

Fourteen years later, Cameron (now played by Tyriq Withers) has grown up to become a star college quarterback in line to be the NFL’s top draft pick and take over Isaiah’s position on the Saviors. A violent concussion knocks him off course, but Isaiah, a living legend still leading the team, offers to vouch for the kid if he passes a private training camp at his intimidating desert estate. It couldn’t be more obvious that Isaiah doesn’t have Cameron’s best interests at heart if he blared a warning on the Jumbotron.

The film’s title comes from a bit of braggadocio — “I’m him” — that started sprouting up in sports leagues during the last five years. (It’s why you’ll sometimes see Lakers shooting guard Austin Reaves called “AustHIM” Reaves.) Anointing someone the GOAT, as in “Greatest of All Time,” has been around longer, but the silly thing about both compliments is they’re getting handed out like Halloween candy. Whether Cameron can become the next GOAT is the movie’s main obsession. Yet it resonates, albeit vague and unexplored, with biblical references to goat offerings and images of Jesus as a sacrificial lamb and the movie’s visual allusions to the goat-headed occult idol Baphomet. Plus, it offers us in the audience the thrill of wondering if someone will get spit-roasted.

Cameron enters Isaiah’s home to discover his host surrounded by what looks like taxidermy sheep skins. Nearly all of the film takes place in his compound, a circular warren that looks like a combination of an ancient temple and the Superdome. We’re continually happy to discover all the menacing delights that production designer Jordan Ferrer has concocted. Inside, there’s unnerving minimalist furniture, dramatic saunas and ice baths and an indoor football field with a throwing machine powerful enough to knock out a tooth. Even more terrifying, there’s Isaiah’s lifestyle-influencer wife, Elsie (Julia Fox), who stomps around with a pointy shard of jade that Cameron is supposed to stick up his rear. (You know, for peak performance.) Meanwhile, outside the gates, Isaiah’s cult followers — like visibly brain-fried Marjorie (Naomi Grossman) — are furious that their champion may retire.

Like “Kicks,” Tipping’s excellent 2016 feature debut about a kid who risks his neck for a pair of Nikes, “Him” is about the bloody quest for respect. It wants to be “The Substance” with jockstraps: a Satanic-tinged, steroidal “Rosemary’s Baby.” The film is so stylishly done that I could accept it on those plain terms. Every shot is a stunner, from stark images of eerily spinning footballs to goalposts that loom like devil’s horns. Editor Taylor Joy Mason and cinematographer Kira Kelly have put together queasy-brilliant montages with some kind of an eye-popping camera technique — a mix of thermal imaging, X-ray footage and visual effects — that seems to see right inside the actors’ bodies to their gristle and goo. Bobby Krlic (a.k.a. the Haxan Cloak), who also composed the music for “Midsommar,” wows us with a tragic, thundering score.

But the movie’s thoughts about pain and devotion and locker-room manipulation are still gestating. After I made it to the end of the story and ran it back, little of the plot hung together. I couldn’t with any conviction answer rudimentary questions such as how much does Cameron even want to play football? Or what in Hades will happen to the surviving characters?

Part of the issue is that Tipping and Withers have created a rising football player who might be too authentic. Withers moves with physical confidence and perfect posture and drilled obedience. Participating in a mock media training day, you buy that he was born to sell sneakers.

He speaks with an athlete’s guardedness, too, that post-game interview cadence where each wooden sentence tries to bore the camera into leaving them alone. Cameron describes his football career clinically and neutrally like he’s a product; he refers to himself “performing,” not “playing,” as the latter would imply he’s on the field to have fun.

Surrounded by trainers and doctors and his childhood hero, he acquiesces to pretty much everything, from receiving random injections to a brutal bludgeoning. (At least he doesn’t do you-know-what with that jade crystal.) I’m willing to blame some of that passivity on his head injury, but it’s hard to care about a character who only has a personality for three minutes.

At least Wayans gets to cut loose. His bullying Isaiah sprints from pep talks to threats in the same breath and runs around in nifty outfits covered in weighted beads. He’s in such peak physical condition that you believe Isaiah’s conviction that it’s possible to outrace Father Time. Realizing afterward that Wayans is 53 — almost a decade older than Tom Brady when he retired after announcers even more bold than Cosell treated him like Methuselah — you just might be tempted to bow down to Baphomet yourself.

As if we needed another reason to question Woody Allen’s judgment, the 89-year-old director praised President Trump as “polite” and “a pleasure to work with” on Bill Maher’s podcast, “Club Random.”

Allen, who cast Trump in a cameo appearance for his 1998 film “Celebrity,” said on Monday’s podcast that the then-real estate mogul “hit his mark, did everything correctly and had a real flair for show business.”

“As an actor, he was very good,” Allen said. “He was very convincing, and he has a charismatic quality as an actor. And I’m surprised he wanted to go into politics. Politics is nothing but headaches and critical decisions and agony.”

Trump’s latest critical decision as commander in chief? Sharing the filmmaker’s positive comments on his Truth Social account. Heavy hangs the crown …

But why would Trump even want Allen on his side?

Allen’s legacy as a groundbreaking filmmaker was tarnished by revelations about his personal life that emerged in the 1990s. It was revealed that he had a romantic relationship with his then-girlfriend Mia Farrow’s adopted daughter, Soon-Yi Previn. He was 56. She was 21. Allen’s own daughter with Farrow, Dylan, would later accuse Allen of sexually molesting her, claims that he denies. Even if fans want to separate the artist from news stories about the man, it’s difficult given that Allen’s films often reflect an obsession with youthful — and occasionally underage — women.

The president has been doing everything possible to bury his past associations with older men who allegedly prey on younger women. There’s this guy named Jeffrey Epstein …

There’s obviously no comparing Allen to the late convicted child sex trafficker, but why even open the door to such scrutiny? It’s because a compliment is a compliment, and there are so few of them coming from Hollywood that Trump could not help but copy, paste and post.

More troubling is that Allen now joins Maher in normalizing America’s first president who operates like a dictator, describing Trump as “pleasant,” “gracious,” even “measured.” Meanwhile, the White House is siccing militarized forces on American cities, trying to deport planeloads of children and attempting to rig the 2026 midterms.

Maher responded to Allen’s flattering words about Trump with mock outrage: “How dare you?!”

Allen may have surprised listeners who know the director as a master satirist of the flawed personality, but Maher was right on brand. The 69-year-old has forged a career playing to all sides of contentious issues while sincerely committing to none.

Earlier this year, the host of HBO’s “Real Time With Bill Maher,” who describes himself as a “vocal critic” of Trump, caught flak for dining with the president at Mar-a-Lago, then later describing Trump as “gracious,” “not fake” and that “everything I’ve ever not liked about him was absent.” He praised Trump for being “measured” and not like the “person who plays a crazy person on TV.”

Larry David, the creator of “Seinfeld” and star of “Curb Your Enthusiasm,” responded to Maher’s laudatory dinner recollection with a satirical essay in the New York Times titled “My Dinner With Adolf.” David wrote from the perspective of a “vocal critic” of the Nazi dictator who, over dinner, finds Hitler to be surprisingly “disarming” and “authentic.” The essay went viral.

During Monday’s podcast, Allen counterbalanced his kind words about Trump with the revelation that he voted for former Vice President Kamala Harris in the 2024 presidential election. He also said that he disagrees with Trump on “99%” of issues.

After wondering aloud why Trump went into politics, Allen said, “This was a guy I used to see at the Knicks games, and he liked to play golf, and he liked to judge beauty contests, and he liked to do things that were enjoyable and relaxing. Why anyone would want to suddenly have to deal with the issues of politics is beyond me.”

Perhaps it’s about seizing total power? Exacting revenge on enemies such as his former national security advisor John Bolton? Scrubbing the Epstein files? Profiting off his office?

But let’s get back to Allen.

The director reiterated that he disagreed “with many, almost all, not all, but almost all of his politics, of his policies. I can only judge what I know from directing him in film. And he was pleasant to work [with], and very professional, very polite to everyone…

“If he would let me direct him now that he’s president, I think I could do wonders.”

He kids. But it was only just a few days ago that Allen came under fire for virtually attending the Moscow Film Festival as a guest of honor. He praised Russian cinema and hinted at wanting to shoot a film in the country. After some “measured” thought, perhaps Putin will get a cameo.

BROADCASTER Nick Ferrari has married his partner of ten years in front of celebrity guests on the French Riviera.

Myleene Klass played the harp as the This Morning star’s bride Clare Goodwin walked down the aisle during the stunning ceremony.

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Nick, 67, wed his long-term parter in Nice yesterday in front of Piers Morgan and Christopher Biggins.

Sharing photos of their special day, Nick’s employer Global, which owns LBC radio, wrote: “Sending huge congratulations to our very own Nick Ferrari & Clare Goodwin who married yesterday, celebrating 10 years together having met at Global – perhaps the beautiful Bride’s ‘something blue’?!

“We wish you every happiness together.”

Myleene said: “I’ve just arrived at this incredible place in Nice and I’m playing the harp.

“This is my present to Clare and Nick for their wedding.

“What an honour to play your friends down the aisle.”

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Fifth in a series of stories profiling top high school football players by position. Today, Cooper Javorsky, San Juan Hills offensive lineman.

It wasn’t until last March when 17-year-old offensive tackle Cooper Javorsky of San Juan Hills High received his first football scholarship offer.

By May, there were 15 and counting. Any college recruiter who dropped by spring practice to see his size or view his game film from 2024 when he didn’t give up any sacks immediately knew what they were witnessing.

In the recruiting world, it’s called “blowing up.”

“He’s had a tremendous offseason,” coach Robert Frith said.

By early June, he had committed to UCLA with the outlook to one day play center.

He set a school record by bench pressing 405 pounds. He grew to 6 feet 4 1/2 and 295 pounds. He made it to the second day of CIF wrestling in the heavyweight division and competed in the shotput and discus during the track and field season.

“I’ve been lifting two to three times a day,” Javorsky said. “I’ve been trying to eat right. I haven’t had much time with friends, but at the end of the day, I’m working toward a goal, and I want that really bad. I’m working really hard to play in college and hopefully going to the league.’

He certainly has college sports success in his family. Older brother Jake, who was a standout linebacker for San Juan Hills, plays for Cal Poly in San Luis Obispo. Two older sisters played softball and soccer for Northern Colorado and UC Irvine, respectively.

Cooper Javorsky of San Juan Hills has grown to 6 feet 4.5 and 295 pounds and become a college football line prospect.

(Eric Sondheimer / Los Angeles Times)

As the “baby” in the family, Cooper got lucky.

“I definitely got the size genetics,” he said.

He got to play with Jake when he was a sophomore and admires his determination as a linebacker.

“He’s nuts,” Javorsky said. “He’s knocked out kids before. It’s hard to beat him.”

Jake used to “whip him” if there were any family squabbles. “I’m only recently bigger,” Javorsky said. “He was always so strong.“

As San Juan Hills’ starting right tackle, Javorsky has the assignment of protecting the blind side of left-handed quarterback Timmy Herr. The responsibility came even though he’s only been playing tackle football since he was in eighth grade.

All those other sports he plays helps in football.

“With shotput, it’s a pure explosion sport,” he said. “In discus, you have to learn technique. It helps with footwork and the mental aspect. Wrestling is footwork and hand placement and overall knowledge of where your body is and where your feet are.”

Frith sees a player with a bright future in football.

“I’m really proud of him and his hard work,” he said. “He did a phenomenal job last season but wasn’t done physically. He’s still growing.”

As his college options increased, Javorsky planned to embrace any and all opportunities.

“I want to meet everyone,” he said.

Then he decided to end the recruitment on June 12 with his commitment to UCLA, the same school where former San Juan Hills and NFL lineman Sean Rhyan came from.

To see his hard work pay off and see college recruiters validating his growth as a player and person is what Javorsky is most grateful for.

“It was a dream and now has become reality,” he said. “I’m thankful for my dad, my brother, my coach. It’s a very humbling moment.”

Sunday: Sierra Canyon defensive lineman Mikhal Johnson.

Offensive linemen to watch

Elisha Faamatuainu, Murrieta Valley, 6-5, 300, Sr.: Cal commit proved himself last season with versatility

Kaden Franco, St. John Bosco, 6-4, 295, Jr.: He’s finally healthy, so beware next two seasons

Blake Graham, Leuzinger, 6-3, 280, Sr.: Cal Poly commit has the size and athleticism to dominate

Kodi Greene, Mater Dei, 6-6, 320, Sr.: Washington commit was top linemen in Trinity League last season

Josh Haney, JSerra, 6-4, 280, Sr.: Fresno St. commit fits well with JSerra’s tradition of producing top linemen

Cooper Javorsky, San Juan Hills, 6-4, 295, Sr.: UCLA commit keeps growing and improving

Lucas Rhoa, Orange Lutheran, 6-4, 280, Jr.: Making impressive strides to improve

Sam Utu, Orange Lutheran, 6-5, 295, Sr.: Alabama commit is nasty blocker

Elisha Mueller, Servite, 6-4, 300, So.: College coaches will be standing in line to recruit him

Malik White, Rancho Cucamonga, 6-5, 310, Sr.: San Diego State commit has great work ethic

Holidaymakers have been urged to stop using their mobile phones for one thing at the airport. According to gaming expert, Dmitry Kandratsyeu, the mistake could be “costly”

While many of us love the thought of going on holiday, sometimes the airport experience can be quite stressful. From the queues to worrying if you have everything packed – all sorts of things cross your mind when you travel, which means it’s not always an easy process; however, an expert has warned there’s one activity you may want to steer clear of.

It you’re hoping for a peaceful and stress-free flight there’s one thing you may want to avoid doing at the airport to make your air travel experience a lot better. It’s advice you could really want to follow if you’re known to use your mobile phone a lot, as it could actually have a big impact on your journey.

With holiday season in full swing at the moment, there are all sorts of viral tips doing the rounds. But, when it comes to looking after yourself, and your tech, there’s vital advice people need to be aware of.

Games expert Dmitry Kandratsyeu, Head of Product at Solitaires.com, explained: “As a games expert with an interest in gaming habits, I’ve noticed that a lot of popular mobile games are designed to keep your brain on high alert. Fast-reaction titles like Candy Crush, Stack or Duet are all about quick thinking, bright visuals and constant rewards. It’s a recipe for staying engaged, but also for feeling overstimulated.

“In my view, when you play these kinds of games for long stretches during a flight, you’re not giving your mind much chance to switch off. Instead of helping you unwind, they can leave you feeling wired and restless. Your brain is processing rapid taps, colourful animations and pop-up messages all at once.

“That flood of stimulation doesn’t exactly set you up for a smooth nap or an easy adjustment to a new time zone, which can have a negative effect on jet lag symptoms.”

The expert added: “There’s also the matter of blue light from your phone or tablet. Research has shown that blue light can suppress melatonin, the hormone that helps signal when it’s time to sleep.

“Combined with cabin lighting and the general disruption of your usual sleep routine, it’s easy to see how hours of fast-paced gameplay could make jet lag feel even worse.

“Of course, games can be a great way to pass the time on a long-haul flight. But it pays to think about what kind of experience you’re choosing. I’d recommend mixing in slower-paced options like Solitaire, word puzzles or audiobooks.

“These still help you stay occupied, but they don’t demand the same intense focus. If you do prefer fast-action games, try limiting your sessions and giving your eyes and brain regular breaks. Even something simple – like turning off your screen an hour before landing – can help you feel calmer and more rested when you step off the plane.

“Ultimately, it comes down to balance. Games are a fantastic way to make travel feel shorter but, in my opinion, it’s wise to be aware of how certain titles affect your mental state.

“Even just switching off your screen an hour before landing could make you feel noticeably more refreshed and ready to adjust to your destination.”

So, there you have it, how you use your phone at the airport can actually hinder your travel experience, espeically if you play games. While fast-paced games can overstimulate your brain, making it harder to relax during a flight, bright screens and quick reaction gameplay may disrupt your body’s natural sleep cues.

Choosing calmer games or offline puzzles could help you wind down and arrive feeling fresher, which means they are often the better choice if you feel the need to keep your brain active.

After gracing the Weatherfield cobbles and other hit shows, Suranne Jones stars in Netflix’s political thriller Hostage, sharing the spotlight with a grime star.

Bombshells, diplomacy and danger collide in Matt Charman’s new thriller Hostage – and some grime fans might be surprised to see one of their favourite stars grace the screen.

From the cobbles of Coronation Street to Doctor Foster, Vigil and Gentleman Jack – winning a TV Bafta on the way – Suranne Jones has cemented herself as one of Britain’s best-loved acting talents.

Now, the versatile star is taking on her most powerful role yet – quite literally – as the British Prime Minister in Hostage, Netflix’s explosive new political thriller from Oscar-nominated Matt Charman (Bridge Of Spies).

In Hostage, Suranne plays Abigail Dalton, a politician plunged into chaos when her husband, Dr Alex Anderson, is kidnapped. And she made sure she was thoroughly prepared and did her homework.

“I don’t think I’m allowed to say [who], but I did speak to three really high-up women from different parties,” Suranne, 46, says. “I read their books and I interviewed them, and that was very exciting.”

That attention to detail paid off. Abigail isn’t just a PM fighting for her family – she’s a woman balancing power and vulnerability. Portraying the latter involved getting close to her co-star and on-screen husband, Ashley Thomas, aka grime star Bashy.

“We did chemistry tests, and when he came in, it was just like, ‘Oh, you’re intriguing, handsome, lovely, smart, intelligent,’” Suranne remembers. “And then we met our daughter (Isobel Akuwudike), who is also brilliant. It was her first job.”

READ MORE: Teeth whitening solution so ‘effective’ shoppers of all ages love it is 30% off

Ashley also prepared thoroughly to portray medic Alex. He consulted real-life doctors, but it was the emotional weight of Alex’s kidnapping that hit the hardest.

“That was tough. Putting yourself in those places is heavy – especially as Alex is a father,” says Ashley. “The environment I’ve come from, I’ve witnessed and experienced a lot of trauma, so there were things I was able to pull from.”

While Abigail grapples with domestic turmoil, things aren’t calm across the Channel either. French President Vivienne Toussaint – played by French-American actress Julie Delpy – is battling her own political scandal after being blackmailed.

During a state visit to the UK, Vivienne is forced to work with Abigail to expose a common enemy, despite their vastly different political backgrounds.

“She’s quite conflicted, which I liked,” Julie, 55, says. “She is someone who started out with ideals but had to give up part of what she believes in to get access to power.”

Vivienne is dangerous and captivating – a role that seemed made for Julie, who has spent her career tackling complex characters. “She might not be a very good person, but she’s more than just a bad guy,” Julie adds.

But beneath her icy exterior lies a secret: an age-gap relationship that threatens everything. “A May-September relationship these days isn’t a big deal – but this is a little darker and more complicated than that. A little more destructive,” Julie explains.

“Her husband is key in her ascent to power, so to put herself in this situation and put everything at risk is kamikaze.” Hostage shows Vivienne’s struggle to keep her Achilles’ heel hidden.

“She’s good at handling situations and power, but her weakness is her hidden side,” Julie says. “She’s romantically involved with someone she shouldn’t be and that’s a huge weakness for a politician – especially a woman.”

Before Sunrise actress Julie embraced the opportunity to portray someone morally grey. “I loved the idea of playing someone very different from me,” she says. “She’s not the most likeable of characters, but that’s fine with me.

If they are unlikeable as a person, you find a way to approach them as a human being. When I played a Nazi character, she was obviously repulsive, but then you have to think that she sees it differently.”

Despite Vivienne’s complicated personality, Julie found herself intrigued by her. “It was interesting to see someone that seems so rational and together, but behind the mask, her life is a mess,” she says.

“I’m the opposite – I look messy and crazy, but I would never do what she does!” And when it comes to politics? “I’m not interested at all [in politics] because of the compromises you would have to make. I don’t even do that in the movie business, and you see a lot of people give up their morals to succeed. I’m not able to do that. I’m just not that kind of person.”

Julie’s first day of filming for Hostage set the tone that the tense series demanded. “I’m always nervous, and not just on the first day,” she admits.

“My first day on Hostage was a kissing scene – so it was even more stressful than usual. I didn’t know this person so I had to switch off my mind a little.”

If that wasn’t enough, the role involved linguistic hurdles, too. Julie had to learn the more official, formal speeches in English. “Those are hard enough in your own language, but to do them as a non-native speaker was tough,” she says.

Luckily, the tension on screen was offset by the real-life camaraderie with her castmates – particularly Suranne. “She’s a lovely person and a great actress,” Julie says.

“Sometimes, it takes a little time to find your way with certain people, but with Suranne it was immediate. I like communication to be quick and fast and clear, I have no time for ego and she’s like that as well. So it made it very easy.”

The friendly feelings appear to be mutual. Suranne revealed during a recent appearance on the Table Manners podcast, “There were a lot of unrepeatable stories, told in the make-up trailer. Julie would be talking in the corner, and then everyone would go quiet!”

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Safety Quentin Lake and running back Kyren Williams are key players for a Rams team with legitimate designs on a Super Bowl title.

Both are in the final years of their rookie contracts.

But while the Rams have been in negotiations with Williams’ agent about a possible extension, Lake will most likely have to play out the season before his future with the Rams is determined.

And history is not on his side.

Consider: Since the Rams returned to Los Angeles from St. Louis in 2016, they have not signed a safety they drafted to an extension.

“I’m just taking it one day at a time,” Lake said Tuesday when asked about the situation, “as long as I take care of myself between these white lines everything will take care of itself.”

Lake, a team captain, is scheduled to earn $3.4 million this season, according to Overthecap.com. The 2022 sixth-round draft pick from UCLA has been a versatile and dependable piece of the defense under second-year coordinator Chris Shula.

Last season, Lake played every defensive snap as a safety, nickel/corner and hybrid linebacker.

The only element missing from Lake’s statistical resume are interceptions: He is still looking for his first.

On Tuesday, Lake picked off a ball that tipped off Williams’ hands.

“If you’re hustling to the ball, or if you’re in the right place at the right time, something good will happen eventually,” Lake said, “and that’s exactly what happened there.”

Lake has been “invaluable” to the Rams, coach Sean McVay said.

“I’ve loved everything that he’s about,” McVay said. “And all you see from Quentin Lake is him just continuing to get better, bringing people with him. He is a Ram and I love Q.”

Lake knows that making plays on the ball will help his case. But he is not stressing about it.

“I’m not worried about stats because value — my value — I think comes in other ways,” he said. “Versatility, being in the right position, being able to communicate, having the ability to be the [defensive signal-caller] if need be.

“So I’m not too worried about stats. But I think at this time, it’s now, how can I take calculated risks? How can I find an uncommon ability to make plays on the ball?”

Etc.

McVay started his post-practice news conference with comments about the shooting on Monday at the New York building that houses NFL headquarters. “Thoughts and prayers are with the people that have been affected by the shooting at NFL headquarters,” McVay said. “It’s just such a terrible thing. And again you just hope for the best for any of the people that are injured, and then the people that did lose loved ones, we’re just thinking about them.”…. Quarterback Matthew Stafford, who remains sidelined because of what McVay has described as a back issue, observed practice. McVay reiterated that “there is a plan in place” for when Stafford might practice, but he said he did not want to set a definitive timetable publicly. “This is the smartest plan for him and we’re confident he’ll be ready,” for the Sept. 7 opener against the Houston Texans, McVay said…. Cornerback Emmanuel Forbes Jr. (hamstring) and safety Kam Curl (ankle) did not finish practice…. After a veteran rest day on Monday, receiver Davante Adams participated in the second practice in pads and he made several impressive catches…. Quarterback Stetson Bennett connected with tight end Davis Allen for a touchdown pass…. Inside linebacker Nathan Landman and nose tackle Poona Ford continue to stand out.

EDINBURGH, Scotland — President Trump played golf Saturday at his course on Scotland’s coast while protesters around the country took to the streets to decry his visit and accuse United Kingdom leaders of pandering to the unpopular American president.

Trump and his son Eric played with the U.S. ambassador to Britain, Warren Stephens, near Turnberry, a historic course that the Trump family’s company took over in 2014. Security was tight, and protesters kept at a distance were unseen by the group during Trump’s round. He was dressed in black with a white “USA” cap and was spotted driving a golf cart.

The president appeared to play an opening nine holes, stop for lunch, then head out for nine more. By the middle of the afternoon, plainclothes security officials began leaving, suggesting Trump was done for the day.

Hundreds of demonstrators gathered on the cobblestone and tree-lined street in front of the U.S. Consulate about 100 miles away in Edinburgh, Scotland’s capital. Speakers told the crowd that Trump was not welcome and criticized British Prime Minister Keir Starmer for striking a recent trade deal to avoid stiff U.S. tariffs on goods imported from the U.K.

Protests were planned in other cities as environmental activists, opponents of Israel’s war with Hamas in Gaza and pro-Ukraine groups loosely formed a “Stop Trump Coalition.” Anita Bhadani, an organizer, said the protests were “kind of like a carnival of resistance.”

June Osbourne, 52, a photographer and photo historian from Edinburgh, wore a red cloak and white hood, recalling “The Handmaid’s Tale.” Osbourne held up a picture of Trump with “Resist” stamped over his face.

“I think there are far too many countries that are feeling the pressure of Trump and that they feel that they have to accept him, and we should not accept him here,” Osbourne said. The dual U.S.-British citizen said the Republican president was “the worst thing that has happened to the world, the U.S., in decades.”

Trump’s late mother, Mary Anne MacLeod, was born on the Isle of Lewis in Scotland, and the president has suggested he feels at home in the country. But the protesters did their best to change that.

“I don’t think I could just stand by and not do anything,” said Amy White, 15, of Edinburgh, who attended with her parents. She held a cardboard sign that said, “We don’t negotiate with fascists.”

”So many people here loathe him,” she said. “We’re not divided. We’re not divided by religion, or race or political allegiance, we’re just here together because we hate him.”

Other demonstrators held signs of pictures with Trump and Jeffrey Epstein, as the fervor over files in the late child abuser’s case has created a political crisis for the president.

In the view of Mark Gorman, 63, of Edinburgh, “The vast majority of Scots have this sort of feeling about Trump that, even though he has Scottish roots, he’s a disgrace.” Gorman, who works in advertising, said he came out “because I have deep disdain for Donald Trump and everything that he stands for.”

A Scottish newspaper, the National, greeted Trump’s arrival with a banner headline in its Friday edition that read, “Convicted U.S. felon to arrive in Scotland.”

Saturday’s protests were not nearly as large as the throngs that demonstrated across Scotland when Trump played at Turnberry during his first term in 2018.

But, as bagpipes played, people chanted, “Trump out!” and raised dozens of homemade signs with such messages as “No red carpet for dictators,” “We don’t want you here” and “Stop Trump. Migrants welcome.”

One dog had a sign attached that said “No treats for tyrants.”

Some on the far right took to social media to call for gatherings supporting Trump in places such as Glasgow.

Trump also plans to talk trade with Starmer and Ursula von der Leyen, the European Commission president.

But golf is a major focus.

The family will also visit another Trump course near Aberdeen in northeastern Scotland, before returning to Washington on Tuesday. The Trumps will cut the ribbon and play a new, second course in that area, which officially opens to the public next month.

Scottish First Minister John Swinney, who is also set to meet with Trump during the visit, announced that public money will go to staging the 2025 Nexo Championship, previously known previously as the Scottish Championship, at Trump’s first course near Aberdeen next month.

“The Scottish government recognizes the importance and benefits of golf and golf events, including boosting tourism and our economy,” Swinney said.

At a protest Saturday in Aberdeen, Scottish Parliament member Maggie Chapman told the crowd of hundreds: “We stand in solidarity, not only against Trump but against everything he and his politics stand for.”

The president has long lobbied for Turnberry to host the British Open, which it has not done since he took over ownership.

In a social media post Saturday, Trump quoted the retired golfer Gary Player as saying Turnberry was among the “Top Five Greatest Golf Courses” he had played in as a professional. The president, in the post, misspelled the city where his golf course is.

Weissert writes for the Associated Press.