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Recently revealed evidence from government investigators and court filings renewed questions about Southern California Edison’s claim that it operated its electrical grid safely before last year’s deadly Eaton fire.

Most records surrounding the fire’s cause have been sealed at the request of Edison and plaintiff attorneys. Yet new details revealed in court show that critical fire prevention equipment needed repair before the blaze and that vegetation under the tower where it ignited hadn’t been trimmed for years.

Los Angeles County and state fire investigators cited eight violations, including three of California’s criminal code, in their report released on Aug. 4. The details were blacked out as the district attorney continues an investigation into the devastating fire.

“We don’t believe there is a basis for criminal liability and we will cooperate with any review,” said Kathleen Dunleavy, an Edison spokeswoman.

The investigators said in the report that the Jan. 7, 2025 inferno, which killed 19 people and destroyed more than 9,000 homes and other structures, was caused by electrical arcing on an out-of-service transmission line in Eaton Canyon, which caused hot metal fragments to fall into the dried vegetation below.

Here are key takeaways from the investigative report and recent court filings by lawyers representing fire victims:

Edison didn’t turn off power on its Eaton Canyon transmission lines, despite emergency conditions.

Before the fire, the National Weather Service predicted a “life-threatening” windstorm, investigators wrote in their report released Aug. 4. Santa Ana wind gusts were forecast to reach speeds of 60 to 80 miles per hour, with peak gusts of 90 miles per hour in the mountains.

Earlier that day, Gov. Gavin Newsom declared a state of emergency because of an out-of-control fire that was burning homes in Pacific Palisades.

Despite those conditions, Edison kept power flowing through its high-voltage transmission lines built in the mountains above Altadena. Investigators noted that wind gusts at a weather station about a half-mile from the Edison tower where the fire started recorded gusts up to 68 miles per hour just before the first flames at 6:11 p.m. By 7, gusts were up to 85 miles per hour.

Dunleavy said the conditions did not meet the company’s internal standards for shutting off the lines.

“SCE was actively monitoring the transmission lines in Eaton Canyon on Jan. 7 and none of these lines met our de-energization criteria,” Dunleavy said.

Safety equipment on the out-of-service line was damaged before the fire but not fixed.

Edison had installed safety equipment at both ends of the out-of-service, unconnected transmission line in Eaton Canyon, including at the pylon known as Tower 208 where the fire ignited. But on the night of the fire, the equipment was broken, according to a June court filing.

The equipment was designed to send any unexpected power on the out-of-service line safely into the earth. The grounding equipment was necessary because the idle Mesa-Sylmar line ran parallel to 12 energized high-voltage lines, creating the danger of induction.

Induction happens when electromagnetic fields cause power on energized lines to jump to nearby idle equipment.

At Tower 208, a component known as a compression paddle was not securely bonded to the pylon, allowing debris to form and creating a dangerous air pocket, the filing said. The paddle was meant to be secured with four bolts, but only one bolt was used.

Government fire investigators also found broken equipment at one of the Mesa-Sylmar towers during a tour of the site with Edison after the fire. According to their report, investigators observed “the center conductor dangling free from the bridge section of the tower; it appeared that the remaining two conductors were not bored down to the tower bridge.”

The investigators said they discussed the equipment “abnormalities” with an Edison lineman and lawyer on the tour. “The Lineman said that they were not new and were like this last year; he was also unsure why they were not corrected when it was inspected,” the investigators wrote.

Asked why the equipment was not fixed, Dunleavy said, “We’re looking into that.”

She said the company strives to have a strong maintenance and inspection program and still was performing post-fire examinations and testing.

Edison kept the century-old, out-of-service Mesa-Sylmar line in place for decades, despite knowing idle lines could reenergize and spark fires.

Utilities have known for decades that unused lines can become energized from nearby electrified equipment through the induction process.

To teach employees about the danger, Edison created a training video featuring a 2007 incident in which a line known as the Kramer-Coolwater circuit was de-energized to allow work by a crew. The line became reenergerized while laying on the ground and started several fires, according to a retelling of the video in a July court filing by lawyers representing victims. Later that day, the crew’s foreman was injured when he touched the line.

Eleven years later, the Kramer-Coolwater circuit was unconnected from the grid, similar to the line in Eaton Canyon. Yet the line was electrified by induction from adjacent lines again in 2018, electrocuting a lineman who touched the conductor, the court filing said.

The company has said it kept the line in place even though it hadn’t carried power since 1971 because executives believed it could be used in the future.

Dunleavy said the induction event in the training video was different from what appears to have happened on Jan. 7 with the Eaton Canyon transmission lines.

“We had never seen an idle, de-energized transmission line cause an ignition,” she said.

Edison failed to clear vegetation below the tower where the fire ignited.

The investigators’ report said the fire ignited when electrical arcing on the idle line caused hot metal particles to fall into “the receptive fuel beds consisting of dry vegetation” below the tower.

The June court filing includes details from Google Earth images showing that the vegetation under Tower 208 had not been trimmed since at least 2021. Leaving the brush to grow violated Edison’s safety standard for “structure brushing,” the filing said.

Edison explained structure brushing in an article last year, describing how it cleared all vegetation around certain equipment, creating a 10-foot barrier to reduce the fire risk.

Asked why Edison let brush grow below the idle line, Dunleavy said, “We inspect and maintain all our equipment according to existing regulations and laws.”

Edison has sued L.A. County and other public entities, saying that their failures, including not clearing brush and delayed evacuation warnings, increased the fire’s destruction.

A fight over accountability

The first jury trial looking at whether Edison acted negligently in igniting the fire is scheduled to begin Jan. 25.

Later, state regulators will evaluate whether the company acted “prudently” in its actions related to the fire’s start.

Under a 2019 law brought by Newsom to protect utilities from bankruptcy, the companies automatically are deemed to have acted prudently if regulators sign off on their wildfire prevention plan.

Newsom’s safety regulators approved Edison’s plan just before the Eaton fire. That means Edison will be fully reimbursed for the billions of dollars in Eaton fire damages by a state fund that Newsom’s legislation created unless outside parties can prove Edison acted imprudently, negligently or worse.

“We continue to believe we will make a good faith showing of prudency,” Dunleavy said.

Newsom is working behind closed doors on legislation to further protect Edison and the state’s two other big for-profit electric utilities from the cost of wildfires caused by their equipment, the Times reported this year.

The three companies’ equipment ignited at least seven of the state’s 20 most destructive wildfires, according to CalFire. The Eaton fire was the state’s second-most destructive fire after the 2018 Camp fire, which killed 85 people and destroyed most of the town of Paradise. That fire, according to investigators, was ignited by an old transmission line owned by Pacific Gas & Electric.

The survivors of Eaton and other fires are fighting Newsom’s plan, saying it would leave California more vulnerable to utility-sparked fires.

“The real danger is what will happen to Californians if we further strip away these corporations’ financial incentives to prevent catastrophic fires,” Joy Chen, executive director of Every Fire Survivor’s Network, wrote in an analysis sent to state lawmakers this week.

“These are not innocent companies overtaken by climate change, nor is this an abstract problem of ‘wildfire liability,’” she wrote. “It is a continuing pattern of catastrophic corporate failure.”

Jerry Buss put together what was then thought to be a wild business deal to purchase the Lakers and related assets for $67.5 million in 1979.

Buss had a degree in chemistry, but his money came from real estate holdings and loans that moved between third parties to help him obtain the Lakers, Kings and the Forum from Jack Kent Cooke, who was going through a costly divorce.

Buss’ vision was to infuse Hollywood glamour into an NBA team few in Los Angeles seemed to care about, win championships and share that glory with his family.

Buss realized his Hollywood dream in more ways than he ever could have imagined, with his death in 2013 from complications from cancer touching off battles among his six children over control of the Lakers.

Lakers owner Jerry Buss, center, with children Janie, from left, Jeanie, Johnny and Jim in 1979.

(Gunther/mptvimages.com)

At least two siblings have tried to oust another from a leadership role. One sibling reportedly said two others never should have been born. And one sibling managed to fire the five others from jobs with the team.

The rifts mirror the HBO hit show “Succession.” Buss’ tenure and the family drama has been direct inspiration for two television shows and was chronicled in a docuseries the Lakers produced.

The latest daggers were delivered this week, with attorneys representing Buss’ daughter, Jeanie, admonishing her five siblings — Janie, Johnny, Jim, Joey and Jesse — for announcing the Buss Family Trust was selling its 17.8% ownership of the Lakers to new buyers Bob Iger and Joshua Kushner.

The sale would yield billions for the trust, with Iger and Kushner set to purchase the franchise at a $12.5-billion evaluation for the majority ownership stake of the team and a tagalong provision extending that price to the minority shareholders.

The Buss children are already billionaires following the sale of their majority stake to previous owner Mark Walter in 2025, but in addition to a big jump in share value, the minority stake sale would remove Jeanie from her coveted role as governor.

Neither side is giving up ground, suggesting lawsuits will soon be filed to resolve the family ownership dispute.

How did we get here?

The roots of the infighting date to the early days of Jerry Buss’ team ownership.

Buss focuses on building a family business

For the first 12 seasons Buss owned the team, the Lakers won NBA championships in 1980 and 1982 against the Philadelphia 76ers, 1985 and 1987 against the hated Boston Celtics, and 1988 against the Detroit Pistons.

Former player and shrewd executive Jerry West helped build the Lakers’ rosters, Pat Riley blossomed into an elite coach, and stars Magic Johnson and Kareem Abdul-Jabbar led a collection of elite playmakers during the Showtime era.

Jerry Buss, right, talks with his children Johnny, Jim, Jeanie and Janie in 1979.

(Gunther / mptvimages.com)

The Buss family came along for the ride, with each child working on some aspect of the family business. Jeanie notably helped organize events at the Forum and was eager to take on more challenges while honoring her father’s ambition. Her father put her in charge of the team’s indoor tennis franchise when she was only 19.

As Jerry aged and new stars emerged, including Kobe Bryant, Shaquille O’Neal and coach Phil Jackson, it was clear the next ownership chapter for the Lakers would be messy.

For one thing, Jerry had trouble letting go of what he built.

“I just can’t visualize myself walking away, relinquishing control,” Jerry told The Times in 2002. “My relationship with this team is a lifelong marriage.”

A clear successor emerges

By the time they reached their 40s, Jeanie took on a greater role on the business side, while Jim became a basketball executive.

Joey and Jesse, the youngest Buss children, learned about scouting and business operations.

Lakers owner Jerry Buss poses with the NBA championship trophy in 1980.

(NBAE / Getty Images)

Jerry’s health challenges could not be denied and at age 69, he scaled back his involvement.

In 2002, Jeanie emerged as Jerry’s clear successor. At the time, her siblings did not seem interested in the role.

Her biggest challenges seemed to be getting the rest of the NBA to take her seriously after previously partying with her father’s girlfriends and posing nude for Playboy magazine. She told The Times she wished the media hadn’t focused as much on her past and stood by her work moving forward.

Soon after the Lakers hired Jackson in 1999, he asked Jeanie on a date. Their ensuing relationship added challenges to business operations, but The Times reported Jerry didn’t oppose it.

Lakers owner Jerry Buss and his daughter, Jeanie, pose for a photo at the Staples Center.

(Michael Kelley / For the Times)

Jeanie joined her father at NBA board of governors meetings for three years before being the Lakers’ sole representative at the gatherings that featured no other women. She handled an array of business challenges, big and small, and helped supervise the team’s move from the Forum to the Staples Center.

In 2002, all her siblings seemed content with Jeanie emerging as the face of the Lakers’ front office. They either were driven to make a name for themselves in other lines of business or had clearly carved out roles within the Lakers organization.

“My dad likes a system of checks and balances,” Jim told The Times. “Jeanie has more of the administrative part. We all have a good relationship. There’s no jealousy or envy. It’s very smooth.”

Buss family hits troubled waters

The smooth sailing didn’t last forever.

Jeanie helped her father navigate a series of difficult decisions. The Lakers agreed with Jackson to mutually part in 2004 amid a feud between Bryant and O’Neal, the first sign Jeanie was willing to part with someone she loved for the sake of the business. Jackson returned to coach the team in 2005 and held the role until his retirement in 2011, guiding the team to five titles.

In 2013, Jerry died and Bryant ruptured his left Achilles tendon. The Buss children reportedly decided against selling the team immediately after their father’s death, with Jeanie a clear vote against the move.

In 2014, coach Mike D’Antoni’s Lakers won 27 games. In 2015, the team won 21. In 2016, the team hit rock bottom with just 17 wins. Jeanie and Jackson broke up in 2016, ending their four-year engagement. She has since married comedian Jay Mohr.

Lakers star Kobe Bryant and Lakers governor Jeanie Buss stand beside each other on the basketball court.

(Wally Skalij / Los Angeles Times)

In 2017, the Lakers were headed to another losing season when Jeanie fired Jim, the president of basketball operations, and Mitch Kupchak, the team’s general manager. They were replaced by Rob Pelinka, Bryant’s former agent, and Johnson, the former Showtime star turned businessman.

Shortly after the firing, Jim and his brother, Johnny, tried to remove Jeanie from the team’s board of directors, sparking a legal feud that included Jeanie filing a restraining order while she wrestled control of the team.

“It wasn’t like we were trying to get rid of Jeanie as president of the Lakers,” Johnny said during a docuseries the team produced. “We wanted Jeanie to understand that Dad would not have wanted you to just take total control, hire and fire whoever you wanted, without the rest of us being involved.”

Jeanie countered her father created a trust that put her in control.

“They tried to disregard what their father wanted,” Jeanie said in the docuseries. “That’s a betrayal of all the hard work and what he did on our behalf to make this possible. I felt that there was this desire to remove me or stab me in the heart.”

A court ultimately delivered a ruling that Jeanie is still clinging to today as she hopes to retain the family’s minority ownership of the Lakers and her role as governor.

“The co-trustees are bound to vote the Los Angeles Lakers, Inc. shares to ensure that the minimum 15% ownership requirement is maintained in order to ensure that Jeanie Buss may remain controlling owner,” a letter written this week by Jeanie’s attorney reads, citing a 2017 court ruling outlining her role. “Any attempt by the co-trustees to do otherwise and any attempt to aid or abet the co-trustees as such would constitute a breach of trust, breach of fiduciary duty and be in contempt of court.”

The ruling stipulated that co-trustees “would take all actions reasonably available to them, including voting the trust’s shares to ensure that [Jeanie] is elected as the controlling owner of the Lakers on an annual basis during [her] lifetime.”

A title masks more drama

Soon after the ruling, Jeanie included younger brothers Joey and Jesse in the search for a coach to replace Luke Walton. Her siblings continued to hold roles within the team.

With Jeanie’s power firmly defined by the court, the Lakers signed LeBron James in 2018, traded for Anthony Davis in 2019 and won a title during a season shortened by COVID in 2020. It is the sole championship the team has won since Jerry’s death.

LeBron James hugs Lakers governor Jeanie Buss after winning the 2020 NBA championship.

(Douglas P. DeFelice / Getty Images)

The run to the latest title was far from smooth.

ESPN reported that when Jesse called Jeanie to ask a question about a remark Pelinka made during Davis’ introductory news conference in 2019, she told a story of a promise made between her father and mother that Jerry would never have any other children. Jeanie’s mother reportedly was heartbroken when Jerry and his then girlfriend had Joey and Jesse.

“You should’ve never been born,” ESPN reported Jeanie told Jesse, stunning her younger brother.

The siblings still somehow continued to work in various aspects of the Lakers’ operation.

Jeanie reportedly took intense criticism of the team during the last five years personally and Joey and Jesse wondered whether she might be open to selling the franchise. At the same time, value of NBA teams soared as more billionaires moved into the space. A sale would shift the siblings from millionaires who struggled to invest in growing the Lakers’ operations into billionaires.

A climate opposed to a sale

Jerry created a trust he hoped would prevent his children from feeling pressure to sell the team.

ESPN reported he prepaid inheritance taxes to prevent his children from having to do so upon his death and added provisions to the trust allowing siblings to buy each other out and forcing shares to be redistributed among the siblings when one died rather than passing them on to the next generation of their respective families.

Joey and Jesse began exploring small shares of the team and tried to get other family members on board, ESPN reported. They had not completed their work before Jeanie announced Walter’s offer. Four of the six siblings approved selling 50% of their shares to Walter for a figure that reportedly stunned all of them. Joey and Jesse learned the sale had been approved via a post on X by ESPN’s Shams Charania.

Janie told ESPN the Buss siblings were assured their roles with the team would not change for five years.

Walter’s purchase of the majority stake of the Lakers was approved by four of the six siblings in June 2025, with Jeanie endorsing the deal. She was assured she’d represent the Lakers on the NBA board of governors for at least the next five years.

On Nov. 20, three weeks after the NBA approved the sale to Walter, Jeanie fired Joey, Jesse, Jim, Johnny and Janie, who all worked for the team in various roles.

“I don’t think my dad would be happy with the way things just went down,” Janie told ESPN. “Not at all.”

While she disagreed with the way Jeanie handled the firings, her sister said in an interview with ESPN she didn’t think she meant to hurt her family.

“Jeanie doesn’t have a mean bone in her body, and so she just has to make these tough decisions,” Janie told the network. “And she’s been having to make them … I just wish she would’ve done it differently.”

Firing the last Buss family member

Last week, the family drama flared up again.

When Walter, who is facing multiple investigations into his business practices, reached a deal to sell his majority stake to Iger and Kushner, the family resumed conversations about completely cashing out of the Lakers.

Iger pledged to honor Walter’s agreement with Jeanie to remain as governor for at least five years and spoke highly of the Buss family in multiple interviews and statements released after the deal was announced.

Six days later, five of the siblings voted to approve the sale of their minority stake to Iger and Kushner, effectively firing Jeanie as governor.

Rob Pelinka, from left, Luka Doncic and Jeanie Buss pose for a photo in Katowice, Poland, on Aug. 27.

(Marcin Golba / Associated Press)

“We have decided as a family to sell the remaining Buss Family Trust shares to the Bob Iger group as part of the ongoing transaction,” the family’s statement to ESPN read. “We love the Lakers, Laker fans and will continue to support Los Angeles; but it is time to use this opportunity to move on and exit gracefully while we still can.”

Jeanie’s attorney has contested the sale, citing the 2017 court ruling. The attorney’s letter calls out two of Jeanie’s siblings for sending false information to ESPN: “This is just the latest instance of a years-long pattern whereby Joey and Jesse Buss leak false, defamatory and pernicious ‘information’ to Mr. Charania for the malicious purpose of doing harm to the Los Angeles Lakers so long as Dr. Buss’s chosen successor, Jeanie Buss, carries out her father’s wishes.”

Charania said he stands by his reporting.

The Buss Family Trust issued the following statement to The Times defending the five siblings’ right to sell the team:

“The Los Angeles Lakers have never been just a basketball team. They have been one of the greatest privileges of our lives. Our focus has always been on what we believe is best for the Lakers, the fans who have supported this franchise for generations and the greater Los Angeles community.

“Johnny, Jimmy, Janie, Joey and Jesse have made the decision to sell the family’s remaining stake, and we remain united in that decision. We intend to move forward thoughtfully, respectfully and through the appropriate process.

“We have tremendous respect for Bob Iger and Josh Kushner and believe they understand what the Lakers represent to Los Angeles and our incredibly loyal fan base. We are confident they will honor everything this franchise stands for while building upon the foundation our father created.”

It appears the Buss family will soon be headed back to court to decide their future as Lakers owners.

Dubbed an ‘excellent movie all round’, the edge-of-your-seat war drama thriller has completely captivated audiences, with some fans declaring it’s ‘the best movie’ they’ve ‘ever seen’.

If war films and talented actors are your genre of entertainment, we’ve got a movie recommendation that’ll be right up your alley.

Dubbed an ‘excellent movie all round’, the edge-of-your-seat war drama thriller has completely captivated audiences, with some fans declaring it’s ‘the best movie’ they’ve ‘ever seen’.

Eye in the Sky is a 2016 war drama starring British acting royalty — and it’s currently available to stream for free on BBC iPlayer. The modern warfare thriller stars the late great British icon and acting legend Alan Rickman, and is considered his last live-action feature film — having released posthumously on April 15, 2016, just months after Rickman died on January 14 that same year. His last film overall though, is Alice Through the Looking Glass, which features him in a voice acting role only.

Eye in the Sky has been dedicated to the Harry Potter star, and while Rickman is definitely one of the highlights of the war drama, he’s far from being the only scene-stealer.

Directed by Gavin Hood with a screenplay penned by Guy Hibbert, Eye in the Sky stars the legendary Helen Mirren in the lead alongside Rickman. The pair are joined by Aaron Paul, Barkhad Abdi, Jeremy Northam, Michael O’Keefe, Phoebe Fox and Iain Glen in supporting roles to round out a talented cast.

Speaking to Collider about her co-star Rickman, Mirren shared: “I think that Alan would have been incredibly proud that this was his last movie. It is what I love about it, which is that the Alan you see up on screen is much closer to the real Alan Rickman that we all knew and loved. You see his intelligence, you see his wit, and you see his authority. I think that that was very much the Alan that we knew.”

With an almost perfect 95% approval rating on Rotten Tomatoes, Eye in the Sky seems to be loved by one and all.

One viewer was clear the film belonged to Rickman as they wrote on IMDB: “This is Alan Rickman’s movie. He is the star, the cast person who carries the movie. The movie itself is excellent. It tells a compelling story and succeeds in building dramatic tension without becoming contrived.

“The conflict is presented plainly. Every character plays an important role. Yet, Rickman drives this movie. His performance as the general in charge of the operation should earn him at least consideration for the highest official accolades.”

While another fan of the film said: “Excellent movie all around! I rarely give very high ratings, so take this 10 as solid approval. This is a very well-made movie. It’s dramatic (fitting the occasion), compelling, exciting, interesting, intriguing, well-paced, informative, insightful, well scripted, well acted, evocative, relevant, just, intuitive, comprehensive, and so on.

“All of these. I found it very enjoyable to watch, and I followed along and fully understood the situation presented and all of its challenges. It’s difficult to imagine any ways it could be improved.”

An audience review on Rotten Tomatoes states: “Genuinely one of the best films I have ever seen – could be a fantastic debating resource for schools, colleges and universities. Brilliantly communicated from every angle.”

While one viewer said in a glowing review: “I have to say: This film blows my mind. The combination of the suspense, the back-and-forth, and the frustration exceeds any out-of-the-world action sequences; not to mention Mirren and Rickman being superb as always.”

Critics were left equally impressed, with one writing: “It’s a tight thriller played out smoothly but tying the viewer in moral knots. A film to think about for days, with little hope of finding a comfortable answer.”

While another reviewer said: “Eye in the Sky is a disturbing, intelligent and very well crafted contemporary thriller with a solid screenplay by Guy Hibbert and seamless direction.”

A third critic added: “This is the kind of intelligent, thought-provoking mainstream film that’s in danger of becoming extinct. Eye in the Sky is miles above the average multiplex flick.”

Eye in the Sky is available to watch free of cost on BBC iPlayer.

Earlier this year, Colman Domingo devoted a portion of his monologue on “Saturday Night Live” to a few things he is famous for. One example? “When you come to my house, the vibes are spectacular.”

Those vibes must have transitive properties: On a recent morning in a borrowed backyard in Santa Monica, the vibes were as impeccable as one of the actor’s famously natty red-carpet looks. Posing for photos poolside, Domingo was the picture of laid-back charm, chatting with the crew in that commanding leather-and-gravel voice and flashing a toothsome smile.

With four projects in 2026 alone and more than 100 credits across film, television and the stage dating back to 1994, you definitely know Domingo from something. Increasingly, people recognize him from several things. Or, as the case may be with a performer of his caliber, they don’t — and that has been the highest compliment of all for the 56-year-old Philly native.

“It is the wildest thing,” says Domingo, stretched out on a sectional in the shade. He recounts how people have approached him about his role as Danny, the elegantly snarky architect on the Netflix comedy “The Four Seasons,” and were flummoxed to discover that he also plays the tightly wound Ali, he of shaken faith and sawed-off shotgun, on the recently concluded HBO drama “Euphoria.” “I’ve had so many people who saw me as one character, but they didn’t know I played the other character, even if they watched both. They’re like, ‘Wait a minute, that’s the same guy?’”

Domingo in “Euphoria.”

(Patrick Wymore / HBO)

That’s the same guy. Familiarity has bred respect as Domingo nabbed Emmy nominations for both roles for the second time — supporting actor in a comedy for “The Four Seasons” and guest actor in a drama for “Euphoria,” a trophy he took home in 2022.

“I get the yin and yang,” he says of the pleasure and challenge of inhabiting men from such different worlds.

Domingo credits “Euphoria” creator Sam Levinson with the complexities of Ali’s journey, which were showcased in the finale in breathtaking extremes of violence and grace and included a poignant monologue about the limits of empathy as he grieved the loss of his sponsee Rue (Zendaya). “It was so beautiful,” says Domingo of the conclusion of his arc. “Sam gave me words that are not just for Rue. They’re like a prayer for the world, sitting down at tables and having the hard conversations and trying to get people to come to their personal truths. To have a breakthrough in their lives. That’s how he’s been utilizing me for the series.”

(Evan Mulling / For The Times)

Conversely, Tina Fey and the writing staff of “The Four Seasons” have been using Domingo’s Danny as, among other things, a brutally effective vehicle to deploy acidic one-liners. (A favorite: “This the town Tracy Chapman sped away from.”)

“He is fictitious, but in many ways there’s a lot more of me in him than I personally have seen [in my previous characters],” he says of the man whose bravado masks an unsettled energy as he encounters the challenges of midlife. “Even in my notes to Tina and the showrunners, I started to craft a character that was closer to myself. I’m like, ‘I don’t see the mes in the world, queer men who are mostly in heteronormative worlds and how we activate and how we love and our friendships that are not just based on the fact that we are queer.’”

Domingo’s own midlife — conversations about fiber and the proliferation of readers in every room aside — is enviable. In addition to the two series, he appeared in two of the most talked-about films of the year, the blockbuster Michael Jackson biopic “Michael” and Steven Spielberg’s sci-fi thriller “Disclosure Day.” In another instance of playing a set of disparate characters, he was the imperious patriarch Joe Jackson in the former and the rebellious, empathetic whistleblower Hugo Wakefield in the latter.

“I wanted to challenge myself in different spaces,” says Domingo with gratitude for those roles as well as other 2026 opportunities, like his “SNL” appearance — which brought him back to his “Big Gay Sketch Show” days — and his recent guest-hosting stint on “Jimmy Kimmel Live!” “I never want to get caught up just doing the same thing.” He recalls a time when he played a couple of villains in a row and similar offers poured in. “I thought, ‘Oh no, I’ve done that.’ I knew it was time to move on to something else. And even ‘The Four Seasons,’ when that came along, I had been going back to back with dramatic roles — ‘Sing Sing,’ ‘The Color Purple,’ ‘Rustin.’ It takes a little toll on you.”

Domingo with Marco Calvani in “The Four Seasons.”

(Emily V. Aragones / Netflix)

Fortunately, all of that work has helped Domingo amass a very comfy set of laurels (upon which he refuses to rest). While his success has been a slow burn, including years of work on Broadway as an actor and playwright — Domingo co-wrote the book for “Summer: The Donna Summer Musical” as well as several straight plays — and his stint as a series regular on “Fear the Walking Dead” the last five years lighted the fuse on the rocket.

In that time, Domingo has won four NAACP Image Awards, been nominated for back-to-back lead actor Oscars, Golden Globes and BAFTA awards, and received a second Tony Award nomination, this one for best play as a co-producer of the “Hamlet” adaptation “Fat Ham.” (His previous Tony nod came in 2011 for featured actor in a musical for “The Scottsboro Boys.”)

Colman Domingo.

(Evan Mulling / For The Times)

“I’m very happy that this has happened the way it has,” he says of this golden period of work and creativity in his 50s. It’s not that he wouldn’t have appreciated or been ready for it in his youth, he says, but he has seen the pitfalls of success that happens too young. “At this age, I know myself. I know what I need. I have boundaries. I know how to still be a person in the world. And that’s the part that’s important to me, which is not being so isolated.”

There’s little danger of that given how often he is now stopped on the street. But he is cheered by the interactions because, whether fans love him as a good guy, a bad guy or a character in between, they all want the same thing. “Whatever I’ve done, people always ask, ‘Can I have a hug?’” Maybe the vibes are not about the house, but Domingo himself.

Hayden Panettiere spent much of her life in front of a camera, beginning her acting career before she was even a year old, starring in commercials. At the tender age of 4, she landed her big break with a recurring role on the ABC soap opera “One Life to Live,” which led to a role on another soap opera, CBS’ “Guiding Light.” Over the years, she performed in a number of films and TV series, landing notable roles that made her a staple of network television. In addition to her onscreen work, she did voice acting for animated films like “A Bug’s Life” and “Dinosaur,” as well as the video game franchises “Kingdom Hearts” and “Until Dawn.”

The actor, who died Sunday at 36, was a versatile performer whose no-nonsense attitude and vocal range added depth to roles. Here is a guide to some of her notable work.

‘Remember the Titans’

Disney’s 2000 sports drama was based on the real story of Herman Boone, a Black football coach who was installed as head coach at the desegregated T.C. Williams High School in Arlington, Va., and led the team to a perfect season and state championship. In the film, Panettiere plays Sheryl Yoast, the young daughter of coach Bill Yoast (Will Patton), whose job Boone is given by the school district to placate Black community members as racial tensions rise. Panettiere’s Sheryl makes an impression right away, with a fiery speech directed at an official who comes to tell Yoast that Boone will now be head football coach of T.C. Williams. “You can’t just walk in here and take my daddy’s job away,” she cries as she stomps away, but not before kicking said official in the back of the leg. Later, she understands the implications of the decision, even if it comes at the cost of her father’s selection into the high school football hall of fame, preferring to put the team and their teamwork first: “Bunch of old rednecks … Let’s knock ‘em dead at state, coach.” (Watch on Hulu and Disney+.) — Maira Garcia

‘Ice Princess’

In Disney’s 2005 film, Panettiere was a little too good at playing the popular mean girl. She was even better at playing the popular mean girl who lets her icy walls melt away to welcome in the new girl. As talented figure skater Gennifer Harwood, Panettiere faithfully portrayed the evolution of friendships — especially for young women — in highly competitive sports and the tension between young athletes and their well-intended, but overbearing parents. While Panettiere could stand on her own talents, her performance was even more memorable for the dynamic she shared with screen partner Michelle Trachtenberg. The latter played Casey, a student with Ivy League ambitions whose interest in physics brings her to the figure skating world. Trachtenberg died in 2025 at 39. (Watch on Disney+.) — Alexandra Del Rosario

‘Heroes’

Claire Bennet (Hayden Panettiere) with her father Noah (Jack Coleman), also known as H.R.G., in NBC’s “Heroes.”

(Chris Haston / NBC)

This superhero series was a hit from the moment it debuted in 2006. An international cast fueled a show that featured people gifted with superpowers around the world that had a mysteriously ominous connection. At its heart was Panettiere’s Claire Bennet. An unbreakable high school cheerleader, she embraced the role of hero, facing pushback from a shadowy government group, serial killers and a twisted family dynamic. Panettiere became the face of NBC’s freshman ensemble success story, and despite an industry work stoppage and dwindling fan support afterward, the show’s viral campaign — “Save the cheerleader, save the world” — centered her, and her character’s courage, on a bona fide fandom-generating ride that ended way too soon in 2010, after four seasons. (Watch on Netflix and Tubi.) — Jevon Phillips

‘Scream’ franchise

Hayden Panettiere at the premiere of “Scream VI” in New York City in 2023.

(Nina Westervelt / Variety via Getty Images)

The actor joined the hit horror franchise in 2011’s “Scream 4” as Kirby Reed, a Woodsboro High student who is a horror film buff. One of that film’s memorable scenes featured Kirby in a tense trivia telephone showdown with the Ghostface killer, rushing through the titles of several slasher films while attempting to save one of her friends.

Although Kirby was seemingly killed off, she returned as an FBI agent in 2023‘s “Scream VI” when the franchise continued with younger characters and moved its setting to New York. “Scream” fans cheered during an early screening when Panettiere’s character appeared — she and Courtney Cox were one of the few “Scream” veterans to return for the new film.

Panettiere’s hair was longer and her role was expanded in the new “Scream.” Kirby explained that she had survived the Ghostface attack: “I was technically dead for four minutes. When I was revived, I got mad … I wanted the monsters to be afraid of me.”

Kirby also engaged in another trivia back-and-forth with Mindy Meeks-Martin (Jasmin Savoy Brown) where they agreed on the best “Nightmare on Elm Street” (“the original”) and that “Psycho 2” was “underrated,” but disagreed on the best “Friday the 13th” sequel. Although she is investigating a new set of Ghostface killings, Kirby later becomes a prime suspect. (Watch all on Paramount+.) — Greg Braxton

‘Nashville’

In ABC’s “Nashville,” Juliette Barnes’ storyline was infused with personal struggles similar to Panettiere’s.

(Katherine Bomboy-Thornton / ABC)

Panettiere was noticeably more mature when she became a co-lead role in ABC’s “Nashville” as Juliette Barnes, a crossover singer with more than a few similarities to Taylor Swift. The music-flavored drama, which premiered in 2012, starred Connie Britton as country star Rayna Jaymes, whose career was on the downturn at the same time Barnes was climbing the charts.

The actor injects her “Nashville” character with a mix of sexiness, snark and edge as Barnes becomes rivals with Jaymes. When the two first meet in a dressing room during the pilot, Jaymes is gracious while Barnes is condescending.

Panettiere said in an interview that she was tense during that scene. particularly since it was the first time the two actors had met. She said she apologized to Britton repeatedly saying, “‘I am so sorry!’ Because it was our first experience together, and I didn’t want to step on toes. Sometimes it gets real, very real, you know?”

While filming the series, Panetierre gave birth to her daughter in 2014. She detailed her struggles with postpartum depression in interviews, saying the condition was “scary and needed to be talked about.” In the series, Barnes also suffered from postpartum depression during the show’s third and fourth seasons. (Watch on Pluto TV and Netflix.) — G.B.

‘Kingdom Hearts’

Square Enix’s beloved video game series was my personal introduction to Panettiere and her acting abilities. In the first two installments, Panettiere voiced the kind island kid turned princess Kairi for the games’ English dub. Before protagonist Sora’s (voiced by a young Haley Joel Osment) world descends into darkness, Panettiere’s Kairi is playful and tender early in “Kingdom Hearts 1.” In the slightly more complicated “Kingdom Hearts 2” Panettiere’s older Kairi is contemplative, defiant and desperate to help all her friends. Kairi’s scenes are often accompanied by the powerful score from composer Yoko Shimomura, amplifying the emotion that has driven the games’ fanbase for more than two decades.

“Don’t ever forget. Wherever you go, I’m always with you,” Panettiere’s Kairi says in a memorable cut scene. — A.D.R.

Actor Hayden Panettiere, the child actor who rose to stardom in television and also spoke with raw frankness about her struggles with fame and mental health, died Sunday, according to her family. She was 36.

Panettiere’s father, Skip, announced the actor’s death in a statement shared with The Times on Sunday.

“It is with profound sadness that we share the tragic passing of our beloved Hayden. She was an incredible light and a force of nature who brought immeasurable love and joy to all who knew her — and to the millions who watched her onscreen,” his statement said.

No other details were released.

She starred on “Nashville” (2012-18) and, before that, “Heroes” (2006-10). Her early work included roles in the 1990s on the soaps “One Life to Live” and “Guiding Light.” She was a model and a singer, having released several singles.

Panettiere also starred in the “Scream” horror movie franchise as well as in hits “I Love You, Beth Cooper” and “Remember the Titans.”

She first gained major attention with “Heroes,” where she played a cheerleader with superpowers. On “Nashville,” she played a troubled country music star, doing her own singing and performing on tour.

Panettiere has been candid about her struggles while living so much of her life in the public eye.

Panettiere gave birth to her daughter, with boxing champ Wladimir Klitschko, in 2014 and battled postpartum depression. She gave up custody of the child in 2018, a decision she called “heartbreaking.”

In May, the actor published a memoir, “This Is Me: A Reckoning,” in which she opened up about her alcoholism and depression after the birth of her daughter.

In interviews about the book, she reflected on the scrutiny and cruelty she faced as a young actor.

“It blows my mind that people could be so cruel,” she told the New York Times. “Looking back as an adult and a mother of a daughter, it’s hard to believe that grown adults were OK with ripping you apart at such a tender age. At any age, really.

“I just can’t believe I made it through alive,” she added.

Panettiere started in movies at the age of 9 when she voiced Princess Dot in the 1998 Pixar movie “A Bug’s Life.” Two years later, she made a splash in the role of a young football-obsessed fan and daughter of assistant coach Bill Yoast (Will Patton) in the biographical drama “Remember the Titans.” The actor told “ET” in 2023, “If I had a wish to go back to any time in my life, it would be going back to ‘Remember the Titans.’ … There were so many stars made from this movie.”

Panettiere was passionate about animals and began advocating for whale conservation in her teens. She came out as bisexual earlier this year, telling Us Magazine that she was sad to have waited until age 36 to do so.

She spoke up about her experience with domestic abuse after a public altercation in Los Angeles in 2022 involving a then-boyfriend. Brian Hickerson was on probation at the time following multiple domestic violence charges that dated back to 2018.

In 2025, her brother, Jansen Panettiere, died suddenly of complications from a heart problem. He had struggled with substance abuse and she got him into treatment, she told Us Magazine.

At the height of her fame on “Heroes,” she was regularly followed by the paparazzi and was the focus of much tabloid attention. Looking back on that time recently, she told a podcaster: “It was just sheer terror.”

In the statement on Sunday, Panettiere’s father said the family asked for privacy “as our family takes time to process this unimaginable loss.”

The Associated Press contributed to this report.

Emmerdale star Christopher Coghill, who plays villain Kev Barton, was once struck over the head with a handbag by a fan who was horrified at his on-screen behaviour

Soap star Christopher Coghill has discussed what happened during a bizarre fan encounter in Selfridges.

The actor, who portrays Kev Barton in ITV soap Emmerdale, describes his character as “a sympathetic psychopath, if you will”, adding he remains unfazed about being typecast as a villain following his stint playing paedophile Tony King in EastEnders in 2008.

He said: “You’ve got to give people a bit of credit. When I started in EastEnders, there were people who were like, ‘You know, there are people out there who really can’t tell the difference between what they see on telly and real life, and because of the character you’re playing, you’re going to get a lot of shit, and you might need police protection’.

“And then you go out, and people go, ‘Oh, you’re brilliant in EastEnders’, and that was kind of it. I did get hit over the head with a handbag in Selfridges, but apart from that..”

His Emmerdale colleague William Ash, who takes on the role of Caleb Miligan, said he’s encountered similar reactions, adding: “People are genuinely generally really nice. You don’t get any grief, really. I did have one woman at the at the petrol station going ‘oh, you’re right horrible to Moira’.”

The duo, who previously shared the screen in the 2003 drama Burn It and portrayed brothers in both the 2006 one-off comedy Magnolia and a 2016 episode of Moving On, find themselves embroiled in an Emmerdale storyline centred on an assault on Billy Fletcher (Jay Kontzle) at the depot.

Kev is responsible for the attack and Caleb possesses CCTV footage of the incident, but has been concealing it so he can pin the blame on his bitter rival, Joe Tate (Ned Porteous).

Coghill said of the footage: “I hold my hands up, it does look bad – I am bent over him with a crowbar and he’s in a pool of blood.”

Yet it might not prove to be the leverage that Caleb believes it to be.

Ash said: “I think [Caleb and wife Ruby, played by Beth Cordingly] just don’t know how to handle him, like most people in the village. It’s like he’s such a loose cannon. You just don’t know what you’re going to get from him.”

Coghill is equally insistent that he wants no further singing scenes for his character, following his on-screen serenade to estranged husband Robert (Ryan Hawley) with If You’re Not The One by Daniel Bedingfield, and his subsequent attempt to convey his emotions to long-lost son Lewis (Bradley Riches) through a rendition of Boyzone’s Father And Son.

Coghill said: “Do you know what, [producer] Laura Shaw did say to me the other week, do you want to do All I Want For Christmas Is You? And I said, if you keep me till Christmas 2029, I’ll do it then. That’s how my contract negotiations are going. But no, it’s excruciating. Horrible.

“If I could sing, I wouldn’t be an actor. If I could sing, I would have been in a band in the 1990s.”

Emmerdale airs weeknights at 8pm on ITV1 and STV, and is available to stream from 7am on ITVX, STV Player and YouTube.

Nick Offerman is more than just his facial hair. For one thing, the actor made viewers weep with his Emmy-winning turn as Bill, a man who found unexpected love in “The Last of Us.”

Then again, Bill did have a great beard.

Fans who celebrated Ron Swanson and his mustache on “Parks and Recreation” have had much to enjoy with the two roles that earned Offerman Emmy nominations this year. As Chester A. Arthur, corrupt politician-turned-surprise president in Netflix’s limited series “Death by Lightning,” and retired professional wrestler and recovering addict Jinx in the Apple TV series “Margo’s Got Money Troubles,” he had two powerful redemption arcs to navigate. As well as some mighty coifs.

“I pride myself on that,” he deadpans. “It’s not something you can learn. I literally come by it honestly because it’s what Mother Nature provided me. Benedict Cumberbatch got the cheekbones and the nimble, articulate language tools. I got whiskers, and shoveling, and slow talking. We all get our things.”

Nick Offerman as Chester A. Arthur in “Death By Lightning.”

(Larry Horricks/Netflix)

Speaking by video chat from the Goodman Theatre in Chicago, where he’s playing Eugene O’Neill opposite wife Megan Mullally’s Broadway diva in “Iceboy! The Musical,” Offerman is humble and erudite, poking fun at himself while praising colleagues. He is “sincerely gobsmacked” by the double nod. He is also fresh-faced, because he’s filming the Alex Garland film “Elden Ring” in London during his downtime. “Here is this meager little mustache that someone made me, and I glue it on every night,” he says, holding up two tiny hairy wings.

In contrast, Arthur’s mutton chops just won’t stop. “If a president is not thin and has facial hair, then it’s been suggested that I should play him,” Offerman says. “People send me all of them, you name it: McKinley, Harrison, Teddy Roosevelt.”

Of course, the actor goes beyond whiskers to create his roles. To play Arthur, he read “Destiny of the Republic” by historian Candice Millard, which the show is based on. He also read Scott Greenberger’s biography “The Unexpected President.”

But ultimately he found his character on the pages of creator Mike Makowsky’s scripts. “The incredible advantage of great writing is that they’ve answered a lot of the questions for you,” Offerman says, adding, “Makowsky told me that he had me in mind when he was writing it. Once you learn about Chester, you’re like, ‘That’s a mixed compliment.’”

Nick Offerman.

(Billy Delfs / For The Times)

He says working on “Death” was “exquisite,” likening the shoot to a camp for theater kids, delighting in the depth of talent in the cast, and recalling when he and star Michael Shannon, at the time performing plays together in Chicago, used to get up to youthful drunken shenanigans, “like climbing a building outside the L&L Tavern.”

Jinx would probably have enjoyed that in his early years. When we see him on “Margo,” he’s been brought low by pain, prescription drugs and a lost love (Michelle Pfeiffer), trying to make amends with his daughter Margo (Elle Fanning), who’s struggling with single parenthood.

“Jinx desperately wants to be a good guy, he wants to be a good dad, he wants to be a good lover,” says Offerman. “He wants to be the hero of any circumstance, but unfortunately he has these frailties that I know too well.”

Offerman trained for three months with bodybuilder Grant Roberts “to create the body of, thankfully, a former pro wrestler, so you don’t necessarily need terrific abs,” Offerman says. Then for three weeks during the shoot he worked with pro wrestler Chavo Guerrero Jr. “I’m a former fight choreographer for the stage, and I do my own stunts, so I’ve been waiting this whole time to play a swashbuckler. By the time we were done, I was flying off the top rope.”

The physical preparation helped him find his way into the role. “What I learned about pro wrestlers, who are incredibly generous and loving people, is that they are all hurt, all the time. They’re all performing through pain,” he notes. “So how can I summon everything I have to blow away this audience with superheroic energy, even though I’m just this dumb theater-school kid?”

Offerman with “Margo’s Got Money Troubles” co-stars Elle Fanning, center, and Michelle Pfeiffer.

(Apple TV)

Jinx’s look is also key to the portrayal. For present-day scenes, Offerman sports his own beard, with some color added. But for flashbacks, “they made my spray tan extra dark, gave me this gorgeous mane of hair and put some braids in my beard. I was just over the moon. People complain about three hours in the makeup chair. I don’t complain because someone is putting their masterpiece on my head. I have the tractor and the hay rack that they’re building their float on that’s going to win the Rose Bowl Parade. It’s such a privilege to get to drive their masterpiece around.”

He soon faced Fanning. “She’s such a badass professional. It was so fun because she inspires me to also be more flexible and creative.” He calls Pfeiffer “a cinematic Mt. Rushmore. That was very thrilling because I traditionally have not been cast as people who have heat with glamorous movie stars.” He giggles.

“I understand that I have value as a performer, but I still don’t get how I got this part,” he says, sounding a bit baffled. “This is the best part of my life. I’ve had some wonderful parts that I’m very grateful for, but I’ve never had scenes with such complicated emotional relationships.”

He adds a point that could apply to Chester Arthur as well. “It’s fun to be a protagonist who gets to indulge in human weakness, knowing that we hopefully will bring the audience back around to caring about you.”

In the summer of 2020, the year “Ted Lasso” debuted on Apple TV, the largest audience for a televised soccer match in the U.S. was 1.7 million. Shortly before the soccer-based sitcom returned for a fourth season last Wednesday, nearly 63 million viewers in the U.S. watched the World Cup final.

Brendan Hunt, the actor who plays Lasso’s loyal sidekick Coach Beard in the series, can’t prove the show is responsible for that growth. But since he can’t disprove it either, he’ll just go with the flow.

“I would love it if we’ve had a role at all,” he said. “If we are a pebble in that avalanche, then I’m happy.”

What the Emmy-winning series has undeniably done is bring soccer into millions of unsuspecting households that had previously avoided the sport like a plague. So while Jason Sudeikis, the star and co-creator, alongside Hunt, of “Ted Lasso,” insists the show is not about soccer, the sport sure gets a lot of screen time. And that has made the game more palatable and popular for a public that can now relate to it.

“We tricked them by putting soccer in a comedy show,” Hunt said. “The first thing you’ve got to do to get somebody to become a soccer fan is just make them care about one team, to find one team.

“In this instance we’ve made them care about this fictional team and that easily can transmute, if you’re not careful, into caring about other teams. And then hopefully the sport itself.”

After a three-year hiatus, “Lasso” returned for Season 4 last week with the series’ eponymous title character, played by Sudeikis, returning to Richmond to coach a fledgling second-division women’s team. Hunt’s understated character makes his first appearance of the season in Episode 2 Wednesday.

“He is clearly going through something,” Hunt said. “Is it just what happens to Beard when he’s away from Ted for too long or is there something important that has happened? We’ll find out before too long.”

Speaking of having gone through something, Hunt, who plays a fictional coach for a fictional team, spent the first part of his summer being a very real journalist at a very real tournament, attending 14 World Cup games in more than half a dozen stadiums — including the Spain-France semifinal in Arlington, Texas, which he watched from the press box, and the Spain-Argentina final, part of which he watched from field level.

“That was a really cool experience,” said Hunt, who did a World Cup podcast with Rebecca Lowe, the studio host of Fox’s tournament coverage.

But for Hunt, 54, the most passionate soccer fan among the writers and actors on “Ted Lasso,” the sport was an acquired taste. Half a lifetime ago, Hunt was a die-hard Chicago Bears fan working in residence with an improv group at a small, aging theater in Amsterdam when he got swept up in Dutch soccer culture.

Eventually, he said, he was contributing weekly columns to Sp!ts, a free commuter newspaper in Amsterdam, chronicling his growing infatuation with the sport. When Sudeikis, another Midwesterner, joined the comedy troupe, Hunt began proselytizing about the sport, using PlayStation games to draw in Sudeikis.

“I found a secret that I had to tell everybody,” Hunt said. “When Jason came to Amsterdam, by that point I was fully a zealot. It was like a new recipe. ‘This thing is great!’

“I’ve been doing it ever since. I just have a slightly larger platform from which to do it.”

That platform is “Ted Lasso,” based around a soft-drawling college football coach, and Beard, his quiet but intense assistant. The concept debuted in a 2013 promo for NBC’s coverage of the English Premier League, then launched as a full-blown sitcom during the angst and fear of the coronavirus pandemic seven years later.

The series, with its message of optimism, kindness and patience and its call to “be curious, not judgmental” — a sentiment Lasso mistakenly credits to Walt Whitman — proved to be the perfect tonic for those trying times. Before it paused after Season 3, it had become the most-watched original streaming series across all platforms and the first Apple TV show to cross the billion-minute mark in a single tracking week.

But in addition to all the messaging and positivity, the show also included soccer. The offside rule and promotion and relegation are the butts of repeated jokes and there are discussions of tactics, positions, formations and other game-related details that would have previously frustrated viewers.

“Lasso,” however, proved U.S. soccer IQ was higher than expected; the sport may not have become fully mainstream, but it was no longer a foreign concept.

“There’s just a wider sense of like, ‘yeah, we’re fine. Soccer’s fine,’” Hunt said of the U.S. public. “We don’t need to explain it to people or impress it upon people. The World Cup has sort of finally cemented that.

“It feels like less and less of a capital S struggle right now.”

Brendan Hunt, left, and Jason Sudeikis in “Ted Lasso.”

(Apple TV)

For Hunt, who has been a season-ticket holder for LAFC and Angel City, getting to be a credentialed World Cup journalist — and a participant in the halftime show at the final — were once such far-fetched dreams that they never even made his bucket list. Getting paid to write scripts for a project he’s passionate about, then act out those scripts as a make-believe coach, was once only slightly less unbelievable.

Yet Hunt has done it all — and after a three-year break he’s back doing it again.

“It’s definitely fun,” he said. “For one thing it makes me a little more useful in the writers’ room than I would be on ‘Grey’s Anatomy.’ And it also means that a world that I already really enjoy has now opened its arms to us.

“The world of football, to have responded so well to this show, has been truly a touching part of this experience.”

And no one can’t prove the show hasn’t played at least a small role in making the U.S. a soccer country at last.

A new mutual defence pact between Saudi Arabia, Turkiye and Pakistan has raised questions about the shifting geopolitical landscape of the Middle East, where fallout from the US-Israel war on Iran has prompted some countries to seek new arrangements to safeguard their security.

The pact, termed the Mecca Joint Defence Agreement, was signed in the Saudi city of Mecca on Friday.

“The agreement is intended to strengthen collective deterrence against any act of aggression, and stipulates that any armed attack against any one of the three states shall be regarded as an attack against them all,” a statement from the meeting reads.

“It further provides for the enhancement of all aspects of defence cooperation among the three states.”

While it is not yet clear what such an agreement might look like in practice, analysts say the pact points to growing questions about the durability of US security guarantees.

“Regional states have harbored growing doubts about the reliability of the US security partnership for more than a decade,” Kristian Coates Ulrichsen, a Middle East fellow at Rice University’s Baker Institute for Public Policy, told Al Jazeera over email.

“Both the decision to begin military operations against Iran and the subsequent conduct of the war and the on-off attempts to resolve it have only intensified those concerns and accelerated efforts to diversify security and defence relations.”

But, Ulrichsen added, building new defence pacts is likely not intended “to replace or supplant the US, but to provide additional strategic and policy options”.

Uncertainty over US role

While the administration of US President Donald Trump has yet to weigh in on the pact, analysts say the agreement is an effort by the three countries to reorient themselves after the turmoil of the Iran war.

“This is one of the first major geopolitical signs that the regional order is being reshaped by the US-Israeli war on Iran,” Sina Toossi, an analyst at the Center for International Policy, told Al Jazeera.

“The significance is less about a formal military alliance than about what it says regarding how regional states are reassessing security.”

Toossi pointed to the long-running alliance between the US and Saudi Arabia. For decades, the two countries have enjoyed a strong relationship, hinged on shared security interests. But the pact could be a sign that Saudi Arabia is looking to expand its security alliances.

“Rather than relying primarily on Washington, Saudi Arabia appears to be broadening its security partnerships and laying the groundwork for more intra-regional security arrangements,” Toossi explained. “That is arguably the most important takeaway.”

Media reports have also indicated that US partners in the Middle East were frustrated that the Trump administration had launched February’s war against Iran with little apparent thought to the impact on allies in the region.

Iranian forces have launched waves of missile and drone strikes against US military facilities in the Middle East, causing bystander casualties. Iran has also targeted civilian infrastructure, including energy and desalination plants.

Tehran’s decision to close the Strait of Hormuz, a key conduit for the region’s energy exports, has also imposed a steep cost on local economies.

Despite heavy strikes by the US and Israel, Iran has largely maintained its ability to restrict traffic through the strait, and Washington has struggled to provide partners with sufficient air defence munitions, many of which went to Israel.

‘Normative deterrence’

Under the circumstances created by the war, the longstanding reliance on Washington for security in the region has become more strained.

“It’s a fluid, tabula rasa era in the Middle East,” Brett McGurk, a key architect of Middle East policy under former US President Joe Biden, wrote in a social media post.

But analysts note that Friday’s security pact is best understood as an effort to supplement regional security cooperation with other countries and deter Iran.

“These countries are all US partners, and they recognise that there is no framework that can replace the United States,” Yasmine Farouk, an analyst at the International Crisis Group, told Al Jazeera.

Farouk added that it would also be a mistake to see the pact as a step towards greater confrontation with Iran.

She noted that all three countries involved have generally called for mediation and de-escalation since the US and Israel first launched their attacks on Iran in late February.

“What these countries have in common is that they are not seeking regional escalation,” she said, underscoring that the importance of the agreement might be something closer to “normative deterrence”.

Iran, she explained, has emerged from the war hardened and more confident in its ability to use force to advance its goals.

“There is a long-term perspective here on strategic cooperation, not just a deterrent effect.”

Marvel’s new X-Men team appears to be coming together.

“Heartstopper” star Kit Connor is reportedly Marvel Studios’ pick to play Scott Summers, the mutant hero also known as Cyclops, in its upcoming “X-Men” reboot. According to Deadline, the film’s director, Jake Schreier, and Marvel Studios President Kevin Feige had met with a number of candidates before landing on the British actor.

Marvel did not immediately respond to a request for comment.

Created by Stan Lee and Jack Kirby, Cyclops is one of the leaders and founding members of the X-Men. He needs to wear special eyewear — usually goggles or glasses — to control the beams of energy that blast from his eyes. The character was previously portrayed by James Marsden in Fox’s original “X-Men” film trilogy (2000, 2003, 2006) as well as in the 2014 crossover “X-Men: Days of Future Past.” Tye Sheridan played a younger version of the character in “X-Men: Apocalypse” (2016) and “Dark Phoenix” (2019).

Marsden is among the original “X-Men” actors set to reprise their roles in the upcoming “Avengers: Doomsday.”

Connor’s casting follows recent reports that Samara Weaving has landed the role of Emma Frost in the upcoming “X-Men” film. Created by Chris Claremont and John Byrne for the comics, the mutant-villain-turned-hero is a powerful telepath also known as the White Queen. The character has previously appeared onscreen in “X-Men: First Class” (2011) portrayed by January Jones.

With his “X-Men” casting, Connor would join his fellow “Heartstopper” and “Heartstopper Forever” star Joe Locke in the Marvel Cinematic Universe. Locke made his franchise debut as William Kaplan, a.k.a. Billy Maximoff, in the 2024 Disney+ series “Agatha All Along.”

These latest “X-Men” developments follow the debut of the MCU’s new Jean Grey, portrayed by Sadie Sink in “Spider-Man: Brand New Day.” Although no official announcements have been made regarding Sink’s future Marvel projects, she is expected to appear in the “X-Men” reboot.

The “X-Men” reboot is expected to land some time after next year’s “Doomsday” follow-up, “Avengers: Secret Wars.” In 2024, Feige told Entertainment Weekly that “the whole story of ‘Secret Wars’ really leads us into a new age of mutants and of the X-Men.”

TikTok said Wednesday it will close its Nashville office in October, laying off 250 workers.

The move is a retrenchment from the social video company’s expansion into Nashville in 2024 and comes as many tech companies are reevaluating their workforce amid the growth of artificial intelligence.

“We have decided to close our Nashville office to streamline our operations and better align our teams for long-term growth,” said TikTok USDS Joint Venture LLC, which oversees TikTok’s U.S. operations. “We remain fully committed to providing secure, safe and positive experiences for the 200 million Americans that create, discover and connect with what they love on TikTok.”

The decision was specific to the Nashville office to bring its teams closer together, according to a TikTok USDS Joint Venture spokesperson.

TikTok‘s U.S. operator notified the State of Tennessee Department of Labor and Workforce Development about the number of layoffs and the office closure on Wednesday. The WARN notice did not detail what roles were at the office, but some jobs were related to content moderation, according to Nashville Metro Councilmember Terry Vo.

“I’m disappointed for all the Nashvillians who are waking up to this reality,” Vo said.

TikTok did not respond to questions on what types of roles were at the Nashville office or whether artificial intelligence was a factor for the layoffs.

TikTok in 2024 signed a 143,610 square foot lease at the Moore Building in the Music Row area, having spent several million dollars to build out the space, according to the Tennessean. The lease also roughly tripled its office space in Nashville, the Tennessean reported.

The social media company has its U.S. headquarters in Culver City.

In 2024, Sen. Marsha Blackburn (R-Tenn.) expressed disapproval of the TikTok office opening in Nashville because at that time, TikTok’s parent company was Chinese tech giant ByteDance.

“When TikTok’s CEO was in Washington, I made it clear to him that Tennesseans are extremely concerned about China’s influence,” Blackburn said in a statement in 2024, adding there were concerns about how the company would handle U.S. user data and whether it would push for the Chinese government’s interests.

Since then, the U.S. government, TikTok and ByteDance came to an agreement last year to establish a separate entity called TikTok USDS Joint Venture overseeing TikTok’s operations and data protection in the U.S. that is majority American owned.

A spokesperson for Blackburn did not immediately return a request for comment on TikTok’s office closure in Nashville.

Rob Enderle, principal analyst at Oregon-based Enderle Group, said he expects more layoffs at other TikTok U.S. office locations due to the new ownership.

“When a new ownership takes over a company, they make adjustments to the staffing levels,” Enderle said.

Maybe there is something in the fog. Matthew Rhys landed two Emmy nominations in different categories for darkly comedic and darkly chilling turns this TV season.

Rhys is nominated for lead actor in a comedy series for his deft performance as Tom Loftis, a single dad and the mayor of a cursed New England island who is trying to balance the town’s supernatural threats with his efforts to boost tourism, in Apple’s TV’s breakout horror-comedy series “Widow’s Bay.” The word-of-mouth buzz around the series, which premiered in April, intensified each week leading up to its finale last month and prompted chatter around its prospects as a major Emmys contender. The series arrived late in the season, so only its first seven episodes qualify for the 2026 awards cycle, but that was enough for Rhys to nab a nod.

It wasn’t the only performance from Rhys that voters boosted. He is also nominated for lead actor in a limited or anthology series for his role as the sociopath Nile Jarvis, a famed and formidable real estate developer who once was the prime suspect in the killing of his wife, in Netflix’s “The Beast in Me.” Nile finds himself in a cat-and-mouse dynamic with his new neighbor (Claire Danes), an author in search of her next book subject who is suspicious of his innocence.

Prior to this year’s nominations, Rhys received five Emmy nominations over his career, including for his lead roles in “The Americans” and “Perry Mason,” as well as a guest actor nod in “Girls.” He won in 2018 for his role as KGB spy Philip Jennings in “The Americans.”

The Times spoke with Rhys about his nomination; these are edited excerpts.

Matthew Rhys as Mayor Tom Loftis in Apple TV’s “Widow’s Bay.”

(Apple)

Congratulations on your exciting morning — it’s a big day in the Rhys-Russell household [Keri Russell, Rhys’ partner, is nominated for lead actress in a drama for her role in “The Diplomat”]. Let’s start with the most important question: What’s in the fog, Matthew?

[laughs] I love how it took me a moment. I was like, “Wait, what?” Oh, yes, the fog! What’s in the fog is an incredible Season 2.

Place me in the moment when you got the news.

I was in Brooklyn Bridge Marina at the time. I just got off a boat, and I thought, “Oh, God, it’s 11:40.” So I thought quite possibly [they] got to our categories. I checked my phone and there were the many texts. That was the exciting moment because if you haven’t been nominated, there’s no text.

Did one text stand out from the others?

The real pinch-me moment — this is going to sound like a real name drop — but it really got me emotional because I thought, if I’d have told my 18-year-old self that Gary Oldman would text me to congratulate me, I wouldn’t have believed it. That’s when it got me in an emotional way because he’s such a true hero.

Let’s start with “Widow’s Bay,” which recently wrapped its first season. There’s something so thrilling about how it broke through the way that it did. What has struck you about how viewers responded to this horror comedy?

There was a great degree of nervousness about how this would land, whether indeed it would land at all, and the fact that it has, and kind of the depth and the complex nature that’s landed or resonated with people in different ways, is what I’ve loved. Some people go, “Oh my God, it’s so funny”; some people say, “Oh my God, it’s terrifying” — some people say both. And some people pick up on the weirdest things, and then some people pick up on the most obvious, great things. But it’s the length and breadth and the variety of its resonances that has really made me very happy, and really made me doff my cap to [creator] Katie Dippold, for what she did.

What should networks and studios take away from the success of “Widow’s Bay” if they are really paying attention?

Take the risk. And challenge audiences. Everyone’s more than ready for it and thirsty for it in a real way. I really hope this does something in the Hollywood psyche, where they go, “Let’s put away the remakes and let’s just get after new challenging, original material.”

What guidance did you get from Katie about who Tom was and how to play him?

She’s dizzyingly collaborative, so she said, “Tom is yours.” It was more me going, “But what about this for Tom?” She would help, but she really said, “Tom is yours to create now. Everything I’ve done is on the page.” And it was. That’s the beauty of her writing. If you’re true to it, and you don’t get in the way of it, it sings.

The way Tom reacts to situations and people is such a master class in facial expressions. Did you recognize that would be your tool for your performance early on?

We had a kind of sliding scale — Hiro [Murai, executive producer and director], myself and Katie — because it was a departure for me. I’d go, “I don’t know where this lives or where reality lives.” And as much as anyone can say, “Play for real” — playing it for real can mean many things. It can mean a very minimal reaction, and it can mean a great reaction, and so there were times when I was like, “I’m gonna hit the sliding scale, and you let me know where it should be landing, or where, in your opinion, it’s landing in a real way.” Sometimes they were like, “Maybe a little less,” and then they were like “Maybe a little more.” That element of collaboration was wonderful too.

The moment on the boat is a GIF I send often. The jolt.

It’s funny, we have a great and incredible stunt coordinator Paul [Marini]. He said, “You have to lead where the momentum of the energy would be; it’d be your hips. So let your hips lead, and then let your body follow.” And I was like, “Oh, that’s smart.” Then if you do that, then it has a degree of comic effect to it. But my pelvis hasn’t quite recovered.

Matthew Rhys as Nile Jarvis opposite Claire Danes as Aggie Wiggs in Netflix’s “The Beast in Me.”

(Netflix)

Sort of like your dance moment in “The Beast in Me” — lead with the hips. This is your thing, Matthew.

Anytime, in the stage direction, it says “dances,” I’m like [mimics vomit sound]. That strikes ice in my veins because I’m always like, “Oh my God.”

That’s your horror comedy.

That is my true horror comedy because my dancing can be horrific and comical when it is to be neither.

Let’s talk about “The Beast in Me.” Nile Jarvis was also quite the departure from you. What was your entry point to understanding him and figuring out how chilling to make him?

It was a lot of YouTube watching, where you just type in “psychopaths” and stuff comes up. I read Jon Ronson’s “The Psychopath Test” and “The Journalist and the Murderer” [by Janet Malcolm]. The writing was so strong in “The Beast in Me,” so much of Nile was preemptively done for me. As [director] Antonio Campos said, “The trick might be not to do too much because enough has been said.” Everyone has this predisposed idea of who he is and, therefore, the idea we came up with was to do not as little as possible, but to be minimal with it because he’s aware of what everyone thinks of him and there’s a degree of enjoyment and relishing in that.

Have you been able to sensibly eat a roast chicken since?

No, not sensibly. It’s become Pavlovian for me now. When I eat roast chicken, I devour it in a slightly psychotic way. I love that scene. It’s an astute piece of writing to say so much about someone without words.

What would you be best suited to achieve: rebranding the town of Widow’s Bay as a tourist destination or charming your neighbors into signing paperwork for the construction of a running path through the backwoods of their properties?

I’m not saying I could charm the neighbors, but I would attempt to charm the neighbors. Playing Tom was exhausting in a way that playing Nile wasn’t. I always spent the end of the day on “Widow’s Bay” going, “My God, I’m exhausted” — because you’re just vibrating on a higher level with Tom. It’s always like, “Listen, please!” The pitch is always higher; you’re always like, “You’ve got to listen to me!” Or if you’re terrified, you’re just hyperventilating.

I know the news of these nominations is still fresh and I don’t want to tell you how to approach the big night, but I just have to say, this could be the moment you take a page from Philip Jennings of “The Americans” and come with a wig and getup so when they pan to you during both categories, you can make them feel distinct.

That’s exactly what I’m going to do. I’m going to Jennings it. I’m going to PJ it. When it pans to me in the second category, I’m gonna look completely different. I’m going to be dressed as Elizabeth [Jennings].

Well, congratulations. How do you think you and Keri are going to celebrate?

Keri, in true “Americans” style, is having me meet her in a clandestine spot that I don’t know anything about, so who knows what. I don’t know what the afternoon is going to unfold, but it’s a big surprise. She might end up killing me, who knows.

RITA ORA’s fourth studio album is almost complete – but no one is quite sure what to expect from it.

Aside from her husband, Hollywood director Taika Waititi, that is.

Speaking to Bizarre’s Jack at a London screening to mark the 10th anniversary of his hit film, Hunt For The Wilderpeople, Taika said Rita’s long-awaited album was “amazing”.

He added: “This new record is incredible. I’ve heard a lot of it.

“It was such a departure from stuff that she’s probably known mostly for. It’s a different sound.”

Taika directed the sultry video for Rita’s latest ­single, All Natural, and also directed and starred in the video for 2023’s Don’t Think Twice.

HEART RIGHT NOW

Rita Ora wows in red gown as she reunites with Taika Waititi on red carpet

RAGING RITA

Rita Ora fuming as gig is cancelled at last minute due to thunderstorm

Getting Oscar-winner Taika to work on your project can’t come cheap, but Taika assured us with a wink that he and Rita had come to an arrangement.

He chuckled: “There is a very mates’ rates deal going on. I think it’s been free each time. It’s just fun to get to work together.

“It’s great because we’re kind of in similar ­industries, but they’re very different disciplines – and when you’re with someone, you want to be able to do some work together.

“I’m really amazed and surprised at what she does, but also super- confused all the time.”

Taika masterminded two of Marvel’s biggest hits – Thor: Ragnarok in 2017 and Thor: Love And Thunder in 2022.

He also plays the alien Korg in the films.

Taika admits that he’d love Marvel book bosses to sign up Rita for a role alongside him one day.

He said: “Younger me would like to see a Bond Girl Rita, but I think I’d find it more fun to see her doing a Marvel film.

“It would be great to see her as a villain.” Watch this space . . . 

RAYE’S GLOWING WITH PRIDE

CHRISTMAS came early for Raye fans as she took to the stage in a sparkly red dress.

The Where Is My Husband! singer wouldn’t have looked out of place at a festive party as she headlined Brighton Pride on Saturday.

Her bill-topping set followed epic performances from Jessie J and Leigh-Anne ­Pinnock.

The Little Mix singer kept cool in a yellow bikini top and combat trousers – putting her growing baby bump on display.

She is expecting her third child with footballer husband Andre Gray. They had twin girls in 2021.

Brighton hosts the UK’s biggest Pride festival, but it is dwarfed by WorldPride, which took place in Amsterdam over the weekend.

Going all out to impress, organisers in the Netherlands somehow managed to land Madonna to perform.

She owned the Dutch stage in a bright purple corset and matching boots.

Taking camp to the next level, Madge was joined for her epic set by Kylie Minogue, who sang with Nick Cave at his Brighton gig on Friday.

Rumours are rife that the duo have a song together on a remix edition of Madonna’s latest album, Confessions II.

We should be so lucky . . . 

ARIANA’S IN FULL BLOOM

ARIANA GRANDE is dominating this week’s Official Chart First Look.

The One Last Time singer is on track to land three songs from her new album, Petal, inside the UK Top 20.

The album’s title track and second single, Petal, is currently at No3, while Kiss Me is at No6 and Stay sits at No11.

The album was streamed 62million times on its first day of release on Spotify, making it the platform’s 16th biggest first-day album debut by a female artist.

Ariana’s 2019 album, Thank U, Next, remains her biggest first-day debut, with 70million streams in its first 24 hours.

MUSIC guru Chris Herbert is the man who discovered the Spice Girls more than 30 years ago, and now he’s backing another feisty young act, Allegra.

She is gearing up to drop a new project called Unreleased EP on August 21 and has her sights set on collabs with top stars.

Allegra, right, said: “I’d love to work with someone like Rita Ora. We’d have so much fun. She’s got such cool style and I think we’d just have fun.”

Opening up about how she ­performs best, she added: “I like it when I’m feeling a bit sexy.

“I think I’m a bit angry at, like, a situationship or an ex- boyfriend, I’m looking hot in the music video and I’m like, ‘OK, I’ve got this’.”

1D GOING IN RIGHT DIRECTION

DURING their heyday, One Direction were a money-making machine.

And even though the That’s What Makes You Beautiful singers split up back in 2016, the cash keeps rolling in.

New accounts for the band, made up of Harry Styles, Niall Horan, Zayn Malik, Louis Tomlinson and the late Liam Payne, have revealed they each made £2,636 a week last year.

And to top it off, they had to do absolutely no work for it.

Their two firms, 1D Media Ltd and PPM Music Ltd, are now worth a combined £3,814,044 – up more than £687,000 from the previous year.

It’s not a bad life, eh?

Vincent Pastore, best known for playing gangster informant Salvatore “Big Pussy” Bonpensiero on HBO’s “The Sopranos,” has died. He was 80.

Pastore was found dead in his Bronx residence Saturday by a friend who did a wellness check after he had not been heard from for three days, his manager Steve Atterman confirmed to The Times. No cause of death was revealed.

While Pastore was best known for his time on the HBO drama starring the late James Gandolfini, he was often cast as an Italian American bad guy in other film and TV projects. His early credits include “Goodfellas,“ “Carlito’s Way” and “The Jerky Boys: The Movie.” He also appeared in the 1996 HBO TV movie “Gotti,” alongside future “Sopranos” co-stars Tony Sirico, Dominic Chianese and Frank Vincent.

A New York native, Pastore was born on July 14, 1946, in the Bronx. He fought in the Vietnam War and went on to graduate from Pace University with a degree in drama. He spent most of his young adulthood running bars and nightclubs in New Rochelle.

He didn’t get into acting until he was in his 40s in the late ‘80s at the encouragement of acting siblings Matt and Kevin Dillon. In a 1999 interview with The Times, Pastore offered his thoughts on why the brothers saw potential in him: “I guess because I looked like a gangster!”

“They used to live in a nearby town, and they used to come to my club a lot, and I became good friends with these guys,” Pastore said. “Kevin brought me down to meet his manager, and I had an interview. I took acting classes and some classes in college, but I didn’t have a clue how to break into film and the New York business. The agent gave me a guidepost, and I started doing some independents and a lot of theater. I started to study acting at 42!”

Pastore appeared in nearly 200 movies and TV projects, and twice in singing roles on Broadway (2007’s “Chicago” and 2014’s “Bullets Over Broadway” productions). But it was his role in David Chase’s 1999 drama “The Sopranos” that became his signature role.

Big Pussy was seminal to the show’s lore as Tony’s longtime best friend and trusted mob enforcer; his betrayal in becoming an FBI informant led to his murder and became one of the show’s most memorable scenes early in the show’s run.

Given his propensity to be cast as a mobster, Pastore was once asked whether he ever considered turning down a job because he thought it portrayed Italian Americans in a bad light.

“No, I haven’t turned any work down,” he told The Times. “The only time I turned work down is when I can’t do it because of ‘The Sopranos.’ I don’t think I am in a position [to turn down work] … when you got a daughter in grad school and you are paying her expenses, it’s pretty hard to turn a job down…You just hope the films are going to be good.”

Pastore is survived by his daughter, Renee.

Spoiler alert: This post contains details from the new film “Spider-Man: Brand New Day.”

Apparently Tom Holland isn’t the only “Spider-Man: Brand New Day” creative with a bad habit of accidentally spoiling movies.

Grammy winner Steve Lacy joined the festivities during the film’s Hollywood premiere on Monday, detailing more than just his original song for the latest “Spider-Man” flick. The “Oh Yeah” and “Bad Habit” singer also allegedly spilled the beans on “Stranger Things” alumna Sadie Sink‘s “Spider-Man” character, which Marvel has kept tightly under wraps. Lacy delivered the accidental reveal while speaking with Twitch star Valkyrae, who hosted the film’s official red carpet stream. During Monday’s carpet, Valkyrae asked Lacy to name his favorite character from the movie “without spoiling anything,” according to video shared on social media.

“Jean. I like Jean,” he responds, “she’s the villain but, like, there’s a reason to her madness.” After Valkyrae asks whether his answer was a spoiler, Lacy seemingly tones down his enthusiasm for the character. “I like her character. I don’t know why.”

Lacy didn’t quite link Sink with this mystery Jean. Still, it’s worth noting that Sink’s role has been the subject of much speculation, with fans suspecting she would play Marvel-verse X-Men telekinetic and telepath Jean Grey. Sink would be the third actress to play the role, after Famke Janssen and “Game of Thrones” alumna Sophie Turner. (Another Marvel universe Jean is Jean De Wolff, a Spider-Man ally who was a police detective and captain.)

“Spider-Man: Brand New Day” will also see Tom Holland, Zendaya and Jacob Batalon reprise their roles and also features Mark Ruffalo and Jon Bernthal among others. Holland recently starred alongside Zendaya and Bernthal in Christopher Nolan’s “The Odyssey.”

The trailer, released in March, shows Peter/Spider-Man (Holland) reeling as he struggles to reconnect with his friends. To his dismay, MJ (Zendaya) has a new man in her life. As in the previous films, Peter attempts to balance his personal woes with superhero struggles — but he’ll have another Avenger in his corner. The clip shows Ruffalo’s Bruce Banner (a.k.a. the Hulk) guiding Peter through an “enormously dangerous” physical evolution and teases several baddies, including Bernthal’s antihero Punisher.

Sink has been all-in on the “Spider-Man: Brand New Day” press tour, managing to keep tight-lipped about her role. Earlier this month, Marvel shared playful videos of Sink somewhat discussing her role to help stave off eager fans’ curiosity. In one clip, she provides “Spider-Man” fans with three incredibly helpful clues: She does not play Spider-Man, she does not play Aunt May (who perished in “Spider-Man: No Way Home”) and she is definitely in the latest movie.

When it comes to spoiling “Spider-Man” and other Marvel films, it often seems like the call is coming from inside. Over the years, Holland has gained a reputation for his loose lips, spoiling plot details from “Spider-Man” and “Avengers” films.

Maybe accidental spoilers are just par for the course?

“Spider-Man: Brand New Day” hits theaters, with showings on Thursday leading into Friday’s release.

AMMAN, Jordan — When Iranian ballistic missiles repeatedly struck Jordan last week, killing three American service members and wounding dozens of others, it brought the spotlight on a U.S. military presence the government of this desert kingdom has long worked to downplay.

Jordan has been a decades-long military and counterterrorism partner with the United States, opening its territory over the years to U.S. and other Western troops in their engagements throughout the region. But faced with a population that is overwhelmingly pro-Palestinian and suspicious of the U.S. for its all-out support of Israel, the government had kept those relationships at a low profile.

But now, Jordan’s growing role in the United States’ war with Iran — and the intensifying Iranian retaliation that role invites — is spurring uncomfortable conversations for the government.

“Jordanians are trapped in a dilemma: They’re being dragged into a war they didn’t want, but the cause of that war is ironically the ally they bargained with to protect them in the first place,” said Sean Yom, a professor of political science and Jordan expert at Temple University who wrote the book “Jordan: Politics in an Accidental Crucible.”

“So they’re asking what’s the wisdom of having this geopolitical bargain with a patron like the U.S. when one of the sources of our instability is the relationship that’s supposed to guarantee our security.”

Since the ceasefire broke down July 8 and the U.S. began launching near-daily waves of strikes on Iran, Jordan has been targeted on nine occasions, with ballistic missiles and drones hitting U.S. assets and facilities and endangering some 4,000 service members at a number of Jordanian military bases across the country.

One of those salvos, on July 17, hit a housing unit in Muwaffaq Al-Salti, a Jordanian base in the country’s east, killing three U.S. service members and wounding at least four others. Also attacked were King Faisal Airbase, Prince Hassan Airbase and the airport in Aqaba.

Iran’s Islamic Revolutionary Guard Corps claimed the strikes not only killed and wounded dozens of U.S. military personnel, but also damaged drones, helicopters, F-15 preparation hangars, radar sites, missile defense systems and munitions depots.

More worryingly for Jordan, the IRGC issued statements thanking “honorable people” in Jordan for providing “sincere cooperation and precise information,” which it said enabled it to target and kill “dozens of American terrorist forces.”

“Seize every opportunity to dismantle American institutions and expel the American occupation army from Jordan,” one of the statements said.

As word of the attacks spread, Jordan’s government, normally reticent about foreign military deployments in the country, embarked on damage control.

Officials and members of parliament swiftly condemned Tehran for violating the country’s sovereignty, while the foreign ministry summoned Iran’s charge d’affaires in Amman, the Jordanian capital, and demanded Iran cease attacks on the kingdom. Jordanian Foreign Minister Ayman Safadi, meanwhile, rejected Iran’s claim that the U.S. has bases in the country.

“There are no American bases in Jordan. We have American troops that are in Jordan as part of our long-standing military cooperation,” he said at the Aspen Security Forum earlier this month. Safadi was referring to the 2021 defense agreement that allows U.S. forces unfettered access to 12 facilities in Jordan, including five air bases; the agreement was approved via royal decree and bypassed parliament.

“Their presence is governed by a defense agreement that fully respects our sovereignty,” he said.

Yet government statements didn’t do much to allay concerns. Though many Jordanians have little love for Iran, more than 300 politicians, academics, lawyers, retired military officers and tribal leaders signed an open letter last week calling on the government to withdraw from the defense agreement and keep Jordanian installations neutral — a bold move in a country where opposition to government policies (especially in security matters) can be a red line.

“Jordan is not a party to this war. Its people should not have to bear the consequences or pay the price for policies that do not serve the nation’s supreme interests,” the letter said.

“We urge the avoidance of the dangers associated with aligning ourselves under the American umbrella; this requires adopting a policy of genuine neutrality, based on refraining from any military or logistical involvement that serves any party to the conflict.”

Another sign of popular anger came Sunday: When one member of parliament exhorted the body to send condolences to Congress for the killing of the U.S. service members, others shouted him down, saying the legislature wasn’t a funeral parlor to console “criminals” and “child killers,” in reference to the United States’ support for Israel in Gaza.

Jordan grapples with questions similar to those facing its gulf neighbors, all of which rely on the U.S. security umbrella that has exposed their nations to Iranian attack. But those countries’ oil riches afford them leverage to push back on the U.S. presence, while Jordan — a resource-poor nation of some 11 million people — cannot.

The conflict, meanwhile, has only compounded Jordan’s economic woes. Tourism, which official figures say accounts for almost 15% of the country’s GDP and had just begun to recover from the 2023 Gaza war, has cratered since the start of military operations against Iran. One month after the war, gas prices rose by 11%, a body blow for Jordan’s perpetually anemic economy.

All that has made the kingdom ever more reliant on U.S. largesse. Washington gives Amman roughly $1.45 billion annually, including around $800 million that go straight to government coffers for budgetary support. It would be hard pressed to substitute that level of support from Europe or elsewhere, experts say.

At the same time, Jordan has become a vital nerve center for U.S. forces. The U.S. military has since 2019 spent hundreds of millions of dollars on upgrades for Muwaffaq Al-Salti and other facilities, according to U.S. federal contracting documents, laying aircraft aprons, taxiways, munitions depots and other infrastructure.

Satellite imagery of those bases from 2019 onward show significant construction and an increasing presence of U.S. assets, including F-16s, F-18s, drones and helicopters.

Now, with U.S. troops deployed in gulf nations proving vulnerable to Iranian barrages, Pentagon planners have transferred assets to locations farther away from Iran, especially Jordan.

In recent days, despite a pause in operations against Iran, flight tracking sites showed brisk U.S. military traffic, with logistical aircraft — including the massive C-17 Globemaster and KC-35 fueling tankers — making repeated trips between Jordan and U.S. military hubs in Europe.

As performers protest and studios sue in their war on artificial intelligence, the entertainment industry is deepening its dependence on it.

Although few places are better than Hollywood at crafting a narrative and concealing what happens off-frame, a Los Angeles Times survey of job postings sheds light on what is happening offstage.

Among hundreds of job postings in late June, more than one in 10 was likely connected to AI. The top studios’ public postings suggest they have been recruiting people to build AI tools. They are also recruiting teams to defend their intellectual property against unauthorized AI use.

“There are plenty of studios that are hiring [for AI] but never talk about it in public,” said Yoland Yan, a co-founder of ComfyUI, a company that helps studios juggle different AI tools.

Companies have been hesitant to detail how they use generative AI in film production — partly because they are concerned about consumer and union backlash.

The Walt Disney Studios complex on May 3 in Burbank.

(Eric Thayer/Los Angeles Times)

Some in Hollywood described AI use as the new cosmetic surgery, where everyone knows it is happening, but few will admit to it.

Recent want ads show Amazon MGM Studios trying to find a principal AI executive and Walt Disney Studios advertising for a production innovation technologist job.

“What you’re seeing in those job postings is that adoption is already happening,” said Bryn Mooser, chief executive of Asteria, an AI film studio.

Netflix recently posted a job that didn’t exist a year ago.

The streamer was hiring for the role of “Manager, Generative Workflows,” a job to help integrate more AI into Netflix films. It promised hands-on experience with the cutting-edge technology.

“The industry is flooded with speculative GenAI roadmaps, but few are battle-tested in production,” the post said, referring to generative AI. The post said the role will work on introducing AI into Netflix’s slate of films being released in the U.S. and Canada.

Although some companies may be shy about sharing their AI plans, big stars who don’t have to answer to others have been more open about their embrace of the new technology for storytelling.

An exterior view of the Netflix sign at Netflix on Vine in Hollywood in 2025.

(Allen J. Schaben/Los Angeles Times)

Rejecting AI is like picking a horse and buggy over a car, said “Star Wars” creator George Lucas.

“Artificial intelligence means it’s much easier for us to make movies,” he told a trade magazine earlier this year. “There’s nothing you can do about it. That’s progress. It’s the future.”

Some in Hollywood have a softer stance on artificial intelligence, with studios cutting deals with AI companies, and filmmakers like Martin Scorsese backing AI companies.

Ben Affleck launched an AI film tech company then sold it to Netflix for half a billion dollars.

When launching InterPositive, Affleck said he wanted to keep “storytelling human” by building AI tools that could fix lighting, generate missing shots and other things while “keeping creative decisions in the hands of artists.”

The Times’ survey turned up two senior InterPositive roles to update the programming to apply AI to visual effects .

The Culver Studios on Feb. 12 in Culver City.

(Kayla Bartkowski/Los Angeles Times)

To gauge what is happening behind the scenes, The Times used Claude Code to build a scraper to identify job postings at Disney, Universal, Paramount, Warner Bros., Sony, Netflix and Amazon MGM. It found around 250 film studio job postings that were still public as of late June. Around 30 of those seemed to be connected to AI.

Disney, Netflix and Amazon had job postings that were about using AI on the creative side of the business. Universal, Paramount, Warner Bros. and Sony had job ads suggesting they were also using AI but for marketing, distribution and audience analytics.

The postings suggest the Disney, Netflix and Amazon studios are building repeatable AI workflows for visual effects, animation, sound and dubbing. The companies also seem to be building in-house teams to develop custom generative-AI models, while also using third-party software.

None of the jobs advertised were to create AI that wrote scripts or created AI actors.

Disney’s ten or so AI jobs showed the century-old studio building out its AI research and production muscle, while protecting its vault of beloved characters.

Mouse House is hiring PhD-level talent to study “computer graphics and AI” for Pixar and Disney films, people to “bridge the gap between research and practical studio application.”

Industrial Light & Magic, the Disney-owned visual effects shop, was searching for supervisors to “explore emerging technologies (including AI/Machine Learning)” to develop new production workflows.

The company’s audio post-production unit, Skywalker Sound, seemed to be recruiting to build proprietary AI models for soundtracks, voice separation, and voice transfer, the process of taking a speaker’s tone and pitch, and applying it to new content.

Disney was also hiring to defend itself. Three of its jobs were for “content security” to assess AI tools and guard against piracy, watermarking and rights-protection work.

The company’s public posture has so far been pursuing lawsuits against AI companies for inappropriate use of copyrighted material, and it pulled out of its plans to invest $1 billion in an equity investment deal with OpenAI.

Netflix’s posts suggested it is bringing more AI to the creative side of its business.

Netflix’s senior director of creative innovation, Girish Balakrishnan, outlined at the Runway AI film festival how AI was used to create soccer fans in “Brazil ’70” and establish shots for fight scenes in “Glory.”

Amazon, an early adopter, was hiring a principal AI executive to drive AI-tool adoption across production, plus roles in operations automation and LLM content classification, the listings revealed.

The Seattle-based streamer has been the most aggressive AI adopter in studios, and commissioned three AI animation series through its GenAI creator fund in May. Amazon has also bankrolled a Manhattan Beach production services company, Innovative Dream.

Even as studios build bigger AI teams, many in the industry are resisting, and some film fans are concerned.

The actors’ guild SAG-AFTRA in June ratified a new four-year contract with special protections against synthetic performers, and the union has backed a national bill designed to protect individuals from unauthorized, AI-generated digital replicas.

Studios have met with the union twice a year since 2023 to provide a confidential report on their AI-related activities. The studios tell the union they aren’t yet using AI that would entirely replace humans, said a person familiar with the discussions.

The union says it has no evidence that generative AI is being used to create performances, and the studios are supposed to notify the union if that happens.

Actors, writers, production staff and movie fans are still resistant to the overuse of AI and defining when and where it is acceptable, so studios are treading lightly, said AI film studio CEO Mooser.

“It’s been really a challenging thing to adopt both socially, ethically and legally, but we are seeing more adoption of it than we’ve ever seen before,” he said.

Issy Wong takes three wickets to help Southern Brave make it two wins from two in the women’s Hundred, as they beat Sunrisers Leeds by five wickets at Headingley.

WATCH MORE: ‘What a ball!’ – Wonderful Wong gets three for the Southern Brave

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MUNICH, Germany — Nicholas Brownlee had just fallen in love with opera and was eager to see if his emerging bass-baritone voice could handle Richard Wagner’s music. It did not go well.

“I kept reading how you have to wait to sing this big repertoire,” Brownlee said. But there was one bit of Wagner — Wolfram’s “Song to the Evening Star” from “Tannhäuser” — that’s “a little bit lighter. I figured it was more appropriate.”

So he brought it to his teacher, Thomas Rowell, at the University of South Alabama and asked what he thought.

“I just laughed at him and told him to go away,” Rowell recalled. “He knew that big voice was there, and he was so eager to try on the clothes, but they didn’t fit for a while. It was still a very young instrument.”

Reminded of that exchange nearly 20 years later, Brownlee smiles. “I was a bit ambitious,” he said. “But this was just me.”

Now that ambition — what he calls “a fire in my belly that burns brighter every day,” — has helped propel Brownlee to the very top of his profession at age 37. And he’s done it by singing a lot of Wagner.

Brownlee recently made his debut as Wotan, embattled king of the gods, in “Die Walküre” at the Bavarian State Opera House, part two of a complete “Ring” cycle directed by Tobias Kratzer. He had previously sung the role in “Das Rheingold,” the opera that opens the cycle.

The critics reached for superlatives. “A heroic baritone straight out of a textbook,” wrote Markus Thiel in Merkur, “with a powerful, resonant voice, a force of nature.” Carlota Moseguí in Platea Magazine praised his voice and said Brownlee “possesses all the qualities to become the definitive Wotan of his generation.”

Next, Brownlee heads to the Wagner shrine in Bayreuth, Germany, where he will star as the title character in “Der Fliegende Holländer” (“The Flying Dutchman.”) And his upcoming season is one Wotan after another.

“It’ll be ‘Siegfried’ time in Munich, then ‘Walküre’ time in Buenos Aires, then ‘Rheingold’ time in Barcelona,” he said. Add to that two of the “Ring” operas in Frankfurt and then two complete cycles next summer back in Munich.

“It’s a once-in-a-lifetime thing to have a student who goes that far, especially from a small regional state university like ours,” said Rowell, who remains close friends with Brownlee and officiated his wedding to mezzo-soprano Jennifer Feinstein. “I have to pinch myself. I’m enjoying it vicariously.”

Does Brownlee worry at all about damaging his voice from so much heavy singing?

“I don’t think you’re supposed to say this, but no, not really,” he replied. “We like to put this big stamp on Wagner and say ‘Be Careful!’” But he said he finds the demands of each opera different enough to help him avoid burnout.

Still, he promises that his roles the following season will be more varied, including a return to one of his favorites — Baron Scarpia in Puccini’s “Tosca.” And down the road are two Verdi roles — the villainous Iago in “Otello” and the comic Falstaff.

Of the latter, he said, “I want to flex a different muscle. I talk fast, I’m a bubbly, fun guy, but what I do on stage is so serious all the time. Boy it would be fun to just be a jolly fat guy!”

Just how did a boy from a working-class family in a small town outside Mobile, Ala., become one of a handful of go-to singers in the world for these demanding roles?

His first success as a vocalist actually came as the youngest grandchild in a large extended family, performing Conway Twitty imitations to grab attention. Classical music had to wait until he fell under the spell of his high school choral director.

When he went to college, he planned to study conducting, but Rowell heard him sing and cajoled him into joining the Mobile Opera chorus.

“I went in the first day and I hated it,” Brownlee recalled. “I said, this is in Italian, who cares? That’s for stuffy elite people, not for us blue-collar fellas.”

Still, his curiosity made him determined to figure out why some people loved the art form. So he sat by the side of the stage one night to watch the emotional final scene of Verdi’s “La Traviata,” when the heroine dies after being reunited with her lover.

“When she said, ‘O, gioia!’ and she fell into his arms, and now she’s dead, Alfredo’s weeping over her, and Germont is feeling half-responsible, I was weeping uncontrollably,” he said. “And I didn’t even know what they were saying.”

That’s when he started taking voice lessons, and from there followed years of study and apprenticeships both in the U.S. and later in Germany. Along the way he competed twice in the Metropolitan Opera’s National Council Auditions.

The first time, still in his early 20s, he made it to the semifinals in New York. “I did not go on to the finals, which was absolutely correct,” he said. “Failure is a great lesson.” (Coincidentally, one of the winners that year was Ryan Speedo Green, who performed Wotan in May at Walt Disney Hall and will bein the Met’s upcoming “Ring” cycle.)

Brownlee returned in 2015, and this time he took home one of the top prizes. Other awards have followed, including in 2025, best male singer at the International Opera Awards and the Richard Tucker Award for most promising American singer.

Yet this American singer is still barely known to most opera audiences in his native country. Brownlee’s career has so far been largely in Germany, where he and Feinstein are raising their two daughters and are currently applying for dual citizenship.

“I can perform anywhere in Europe and be home in two hours to see my girls,” he said. “In America that’s just not something you can do.”

He may be rooted in Europe for now, but major U.S. houses are beckoning with increasing urgency.

When he appeared at Chicago’s Lyric Opera this past spring as the prophet Jochanaan in Richard Strauss’ “Salome,” general director John Mangum called his performance “absolutely thrilling.” He said Brownlee is “definitely going be at the top of our list” as the company charts its future Wagner performances.

And Peter Gelb, the Met’s general manager, who heard him sing a major role for the first time during the Munich run of “Walküre,” said “I was blown away. … We’ll definitely be offering him big roles at the Met in upcoming seasons.”

Silverman writes for the Associated Press.

United States President Donald Trump has joined criticism of England’s tactics in their World Cup semi-final loss to Argentina, by questioning Harry Kane’s second-half “defensive” role.

Manager Thomas Tuchel’s second-half substitutions have been criticised by pundits and supporters following the 2-1 defeat, as Argentina scored two late goals to set up Sunday’s final against Spain (20:00 BST).

BBC Sport reported on Thursday how a number of key players had been left disappointed at how England were instructed to finish the game having taken the lead through Anthony Gordon.

Tuchel reverted to a back five and made a number of defensive-minded substitutions in the closing stages as Lionel Messi inspired a dramatic comeback.

“You have a great player in England who I’ve played golf with. And he is Harry [Kane] who has been fantastic,” said Trump.

“I think they perhaps made a mistake when they made him a defensive player. What do I know about soccer? They took the lead, and they took their best player and put him on defence.

“We got to be a little offensive, right. But no, I’m not going to call it, what do I know about coaching? But that was a little unusual.”

Tuchel was quick to brush off Trump’s criticisms when mentioned to him in a news conference later.

Speaking at Trump Tower during a reception on Friday, the president also spoke about the moment he asked Fifa to review USA striker Folarin Balogun’s one-match suspension.

Balogun, 25, was set to miss his side’s last-16 tie against Belgium after being shown a straight red card for a foul on Bosnia-Herzegovina defender Tarik Muharemovic in the previous round.

But Fifa made the shock decision to suspend the automatic one-match ban for 12 months, leading to widespread criticism.

Trump said: “This has been a tournament like no other. Filled with fierce competition, unforgettable moments. Probably the most unforgettable is when they gave that gentleman… is it a red card?

“And I was forced to call Gianni [Infantino]. I said ‘Gianni, I’d like to make a recommendation. Let the guy in the game!’ No, I didn’t say that. I said I’d like to wage a complaint.

“And actually I had no idea what was going to happen, but you know it is so much better the way it worked out because there is no controversy. [Belgium] won the game and our team had all of its players. You made another great decision if you think about it, but you’ll never get credit for it.”

Trump also thanked Fifa president Infantino and described the World Cup in the US, Mexico and Canada as “the most successful sporting event, maybe in the history of the world”.

Infantino said the World Cup had “exceeded expectations”.

“The American dream, Mr President, came to reality. We united the world in America,” he said.

“This is not just the greatest World Cup of all times, it is the greatest human, social and cultural event that mankind has ever witnessed and we are all part of it and for this I thank you very much, Mr President.”