Robert

While Palmer and Joao Pedro have generally carried Chelsea‘s biggest attacking threat in recent times, they have now been joined by the impressive Rogers too.

His arrival reunites him with Palmer, an ex-Manchester City team-mate and someone he described after the win at Craven Cottage as his “best friend in football”.

“He had a difficult season with injuries and stuff last year – and you could see it in his eyes in pre-season and training that he’s ready this year and ready to prove people wrong,” added Rogers when asked about Palmer’s display.

“You saw that with that performance. He was the best player on the pitch by a mile and that’s what he does. It’s good to have him on our side.”

Indeed, it was also encouraging how Rogers, whose pre-season was shortened by his involvement in England’s run to third place at the World Cup, looked so fit and powerful.

Rogers is the first Chelsea player to score on his Premier League debut since Christopher Nkunku in 2023 – and the first to create five chances in his first league appearance since records began in 2003-04.

It was also the first time Chelsea supporters sang the new Rogers chant in the away end.

Like Palmer, Joao Pedro missed out on the World Cup – as a high-profile omission from Brazil’s squad – but returned in pre-season with eight goals in seven games.

It was no surprise to see him on the scoresheet so early in the Premier League campaign, having inherited the number nine shirt from Liam Delap, who was left out of the squad on Monday, following the contract extension the Brazilian signed this weekend.

“Great combination, great quality,” Alonso told BBC Match of the Day when asked about his front three.

“We know if we reach them [Joao Pedro, Morgan Rogers and Cole Palmer] in good positions, they have this talent to create special things and I am very happy the three forwards have scored.

“We need to put them in the best situations. I am happy for the three of them. They played for the team.”

We’d have to say the most challenging thing about us writing “The Comeback” was coming back from the dead after the show was canceled following its first season way back in 2005. Talk about a hiatus.

There are always nerves when you return to do the next season of a series, but when the hiatus lasts 10 years between Season 1 and Season 2, and then another 10 years between the second and this third, final season — that’s a whole other level of “When we last left Valerie …”

But, gratefully, when we get together to write Valerie Cherish and her world again, it’s somehow more exciting than daunting. The nerves fade and the fun starts. The fun along with — of course — the doubts, the surprises, the deadlines, the page count. The comedy and the tragedy (see page count again). We improvise dialogue so much in the writing room that our notes tend to reach into hundreds and hundreds of pages — per episode. That’s a joke … kind of. And on top of all that, this season and this script that we’ve been nominated for writing had a particular challenge.

(Christina House / Los Angeles Times)

Between the second and third seasons, one of our most beloved cast members, Robert Michael Morris, died. Robert played the beloved, significant, audience-favorite character Mickey, Valerie’s hairdresser. At first, we couldn’t imagine doing a season without this important person and character … but when we decided to go forward with this season’s story, which deals with the TV industry’s fear of an AI takeover, we knew we had to find a way to deal with Mickey’s absence. We decided that since Robert Michael’s death happened during that second 10-year hiatus, we had to find a way to incorporate that history into the Valerie and Mickey storyline. And because it had never been dealt with by the show on camera, we decided that maybe Valerie hadn’t fully dealt with it as well. That way, the viewers wouldn’t feel like they missed a significant turn in Valerie’s journey. We decided if we could create a story where Valerie hadn’t really grieved Mickey’s passing and had to face it in the episode, then she and (hopefully) the viewers could share the sadness and the love together. And together, they could find a way to accept and release him with respect for the actor and the character and with a bit of triumph for all he meant to Valerie and to all of us on our series.

So, we created a character named Tommy Tomlin — another hairdresser and longtime friend of Mickey’s who Valerie hires to step in and take Mickey’s place and be the hairdresser on her new AI-written sitcom. Well, Tommy can do her hair but, by design, can never replace Mickey, and that conflict between Valerie and Tommy underlines her loss and her denial of Mickey’s passing. Tommy’s presence helps push Valerie to acknowledge Mickey’s absence and moves her to gently face it, finally scatter his ashes and let him go.

It was an emotional story to write and even more emotional to film. Lisa was standing on top of a Warner Bros. soundstage ready to open the box of prop ashes, to allow them to float over “Old Hollywood,” a lure that Mickey loved. But we were filming this scene at sunset, and what comes with the light at that picturesque time of day in Burbank is a strong wind from the surrounding mountains that gets trapped in an impromptu kind of wind tunnel between the soundstages. If Lisa opened the box at the wrong moment, the ashes would fly right back into her face — and in this moment, we were not going for comedy.

I was directing from down on the ground, and I looked up to the heavens and said to Robert Michael Morris, “This is your big moment — please quiet the wind so it can be beautiful and touching and an appropriate goodbye to you and your character.” And — I swear — the wind died down. I called “Action!” and on top of the soundstage, Lisa said her goodbye as Valerie, opened the box and the ashes lifted out, almost magically, and floated out and away into the sunset over the Warner Bros. Studio back lot — just as we imagined in the writing room all those months earlier.

The family of actor Robert Carradine filed a lawsuit against the governing body of UCLA, saying that the “Revenge of the Nerds” star’s death by suicide in February at a university-affiliated psychiatric facility was preventable.

In a legal complaint filed Aug. 7 with Los Angeles County Superior Court, the children of Carradine allege that the psychiatric care team at the UCLA health facility was reckless in its care and committed elder abuse and neglect.

Carradine, 71, had checked into the facility shortly before his death.

The 27-page suit names the UC regents as defendants, along with physicians, nurses, clinical care partners and other officials who are identified as “Does 1-100.” Plaintiffs in the suit include Carradine’s estate and his surviving children.

“He asked for help. He recognized that he was a danger to himself and voluntarily walked into a psychiatric hospital to be kept safe,” the family claimed in the suit reviewed by The Times. “He knew he was not safe to be left alone.”

Carradine had bipolar disorder, and the lawsuit says that he had admitted that he had “suicidal thoughts” when he checked into UCLA Resnick Neuropsychiatric Hospital in Westwood.

“Instead of walking into a safe environment, [Carradine] walked into a locked facility that broke a cardinal rule for a hospitalized psychiatric patient with active suicidal thoughts and a history of suicide attempts,” the lawsuit says. “UCLA let him walk into a locked psychiatric unit with a belt.”

The family also said hospital staff left him in a room with a table that had not been removed from his unit before being placed there, according to the lawsuit. He died about 19 hours after checking into the facility, the lawsuit says.

“None of this happened because UCLA lacked the knowledge, the policies or the means,” the civil complaint says. “It happened because UCLA took shortcuts with two safeguards that were meant to protect Robert’s life. UCLA gave Robert the means to hurt himself and then no one watched over him or checked on him for long periods of time despite orders to watch him every 15 minutes.”

The lawsuit says that UCLA staff was distracted during Carradine’s observation intake and that they falsified their records to reflect proper care.

The Times has reached out to the UC regents and UCLA Health for comment.

The youngest son of prolific character actor John Carradine, Robert Carradine was born on March 24, 1954, in Los Angeles. Known for both his film and television work, Carradine made his debut in a 1971 episode of the long-running western “Bonanza.” His first film appearance was in the 1972 John Wayne western “The Cowboys.”

During his 50-year Hollywood career, he appeared alongside his brother David in a 1972 episode of “Kung Fu” and the 1973 Martin Scorsese film “Mean Streets.” Alongside his brothers David and Keith, Robert joined other sets of acting siblings to portray sets of real-life siblings in the 1980 western “The Long Riders.” Carradine also landed roles in Hal Ashby’s 1978 Vietnam War drama “Coming Home” and Samuel Fuller’s 1980 World War II epic “The Big Red One.”

“It is with profound sadness that we must share that our beloved father, grandfather, uncle, and brother Robert Carradine has passed away,” the Carradine family said in a statement following the actor’s death. “In a world that can feel so dark, Bobby was always a beacon [of] light to everyone around him. We are bereft at the loss of this beautiful soul and want to acknowledge Bobby’s … nearly two-decade battle with Bipolar Disorder.

“We hope his journey can shine a light and encourage addressing the stigma that attaches to mental illness. At this time, we ask for the privacy to grieve this unfathomable loss. With gratitude for your understanding and compassion.”

In the 2000s, Carradine charmed a new generation of fans as lovable TV dad Sam in “Lizzie McGuire.”

“There was so much warmth in the McGuire family, and I always felt so cared for by my on-screen parents,” the show’s star, Hilary Duff, wrote in her Instagram tribute to her on-screen dad. “I’ll be forever grateful for that. I’m deeply sad to learn Bobby was suffering. My heart aches for him, his family, and everyone who loved him.”

Carradine’s family and estate are seeking unspecified general and wrongful-death damages and compensation for medical expenses incurred during his hospitalization.

Some victims of disgraced undertaker Robert Bush have not been refunded for fake funeral plans he sold them, a court has heard.

The 48-year-old defrauded 172 people over 11 years to the tune of £562,000, Hull Crown Court was told.

He previously admitted 67 offences in relation to his business, Legacy Independent Funeral Directors in Hull, including failing to bury and cremate people, theft from 12 charities, fraudulent trading in funeral plans, and fraud.

On the fourth day of his sentencing hearing, one woman said her parents, who paid £2,649 each for funeral plans, were not alive “to see the justice they deserved”. Another said she had not been refunded £5,000 for two policies.

This story contains details some might find distressing.

Wiping her eyes with a tissue, Maxine Hill told Mr Justice Hilliard the bank refused to refund the money fraudulently taken by Bush, whom Hill knew personally.

Bush visited both her parents, Margaret and John, in their own home and issued a handwritten receipt to her mother who paid him in cash.

The bank initially refunded the amount paid by Hill’s father but 90 days later, the bank took the money back saying “there was no evidence that he hadn’t received a product”, the court heard.

Both have since died – Margaret in May 2024 and John in June 2025.

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

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

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

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

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

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

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

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

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

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

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

Fit-again wing Robert Baloucoune returns to the Ireland line-up for Saturday’s much-anticipated Nations Championship game against New Zealand in Auckland.

Baloucoune, who won the Six Nations Rising Player award after starring in Ireland’s Triple Crown campaign earlier this year, missed the wins over Australia and Japan with a hamstring issue.

Head coach Andy Farrell recalls a host of key players after fielding a heavily rotated in last week’s 36-20 victory over Japan, with the return of captain Dan Sheehan, prop Tadhg Furlong and fly-half Sam Prendergast among nine changes.

Tom O’Toole, Tadhg Beirne, James Ryan, Jack Conan, Stuart McCloskey and Jimmy O’Brien are the six players retained in the line-up.

Having beaten the Wallabies and Brave Blossoms, Ireland aim to round out the southern hemisphere leg of their Nations Championship campaign with a statement win at Eden Park (08:10 BST).

The All Blacks, who beat France and Italy in their first two games, have not lost at the Auckland venue since 1994, a run of 52 Tests.

Emmerdale’s Serena Sugden’s secret was exposed to her cousin Robert by his ex Kev Townsend on Monday’s episode of the ITV soap, and it might not end well for some characters

Serena in Emmerdale seems to have finally been exposed, as her secret career was revealed.

Kev Townsend finally remembered where he knew Serena from, and he wasted no time in telling her cousin Robert Sugden. Kev shocked Robert as he outed Serena as a copper.

If he’s correct, this explains her shifty behaviour and her constant interrogations. But why is she asking questions about her killer cousin John Sugden and his victims?

Moira Dingle, Vanessa Woodfield and Aaron Dingle had all been suspicious of Serena as she quizzed them about John’s killer actions. While Robert wasn’t concerned, he was warned by Moira on Monday.

Moira told him how she’d been looking into Nate’s death at the hands of John, and she warned him not to tell Serena about how John died. It seems Moira could have been right to be so worried.

Kev then let himself into Robert’s house, leaving Robert stunned. But he was even more shocked when Kev dropped the bombshell that Serena “is police”, branding her a “copper”.

So is Serena a police officer, and is Kev right? He did say he never forgets a face and he’s rarely every wrong so it seems Serena has been sussed.

But what will Robert do with this information, and what is Serena up to? Of course Robert knows his sister Victoria Sugden, Serena’s other cousin, killed John in self-defence.

So Serena being a police officer could be bad news for them as they are covering up a crime. It comes as Aaron is set to make a discovery about his partner Robert’s cousin Serena, after he continues to be concerned about her presence.

When Robert is knocked unconscious by a runaway trailer on the farm, Serena helps him. But after she calls Aaron and tends to Robert’s injuries, Aaron shares his concern about Serena.

He questions the fact that Serena just happened to be at the right place at the right time. But spoilers could explain what really caused the incident with Robert, and it might have nothing to do with Serena.

A spoiler about a scene involving Mackenzie Boyd and Ross Barton, who are at the farm that same week, mentions a trailer. Is it just a coincidence, or is it linked?

So the spoiler reads: “A simmering tension from Mack towards Ross builds as they load bags from a trailer.” It’s at this point that the pair end up fighting, and Mack attacks Ross.

So what happens with the trailer? Is it the same trailer that ends up “running away’ and colliding with poor Robert on the farm?

Emmerdale airs weeknights at 8pm on ITV1 and ITVX. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .