Series

South Africa thump Pakistan by eight wickets to draw Test series | Cricket News

Maharaj, Harmer star with the ball as hosts are bowled out for 138, setting South Africa 68 to win the second Test.

South Africa have romped to an eight-wicket win over Pakistan on the fourth day of the second cricket Test in Rawalpindi, claiming victory before lunch to level the two-match series.

The home side were dismissed cheaply in the opening hour, collapsing from 94-4 overnight to be all out for 138 on Thursday.

South Africa then took 12.3 overs to reach the 68-run target with captain Aiden Markram scoring 42 before being trapped leg before wicket by Noman Ali, four runs from victory.

Tristan Stubbs was caught in the slips in the same over without scoring, leaving Ryan Rickelton (25 not out) and Tony de Zorzi, who did not face a ball, to complete the job.

It was the 11th win in 12 Tests for South Africa, with the only blemish their 93-run loss to Pakistan in last week’s first match of the series in Lahore.

“There were moments where guys had to put their hands up and stand up for the team and they really did that and excelled in that. It took a lot of confidence and a lot of belief from wins, but when your character’s tested and you managed to come out on the right side, I think that means quite a bit more,” said Markram.

Simon Harmer took 6-50 as Pakistan collapsed with fellow spinner Keshav Maharaj adding two more wickets to the seven he took in the first innings.

South Africa's Keshav Maharaj (R) celebrates with Simon Harmer after taking the wicket of Pakistan's Saud Shakeel during the second day of the second Test cricket match between Pakistan and South Africa at the Rawalpindi Cricket Stadium in Rawalpindi on October 21, 2025. (Photo by Aamir QURESHI / AFP)
Keshav Maharaj (right) and Simon Harmer took 17 of Pakistan’s 20 wickets in the second Test [Aamir Qureshi/AFP]

Pakistan lost their last six wickets for 44 runs to continue their trend of lower-order slumps despite starting the day with high hopes.

They needed a major contribution from star batsman Babar Azam, whose appearance at the stumps throughout the series saw a sudden spike in spectators and a noticeable increase in excited noise from the stands.

Babar, however, has not scored a century in his last 15 Tests since 161 against New Zealand in Karachi in December 2022.

He was on 49 overnight, sharing a 34-run partnership with Mohammad Rizwan that held out promise of getting Pakistan back into the contest with six wickets in hand and a 23-run lead.

But after going to his 50 with a single off the second ball of the morning, the 31-year-old Babar was trapped leg before wicket by Harmer in the first over.

After that, the home innings came tumbling down like a pack of cards as the 36-year-old Harmer, who has had a long career in county cricket in England but only 12 test appearances, bagged his first five-wicket haul in test cricket.

He had Rizwan caught at short leg for 18 and then Noman Ali nicked behind without scoring to mark a 1,000th first-class wicket.

“We have a lot to work on,” said home captain Shan Masood, “when it comes to lower order batting, when it comes to finishing the innings off, when it comes to the third innings of batting, also when it comes to the first innings where we could have posted something north of 400 but we didn’t.”

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Natalia Lafourcade’s ‘La Cometierra’ reveals ‘hard truths’ of LatAm life

Eating dirt is usually not a good thing, but in the new Amazon Prime series “Cometierra,” it’s a superpower.

The supernatural crime thriller, which premieres on Halloween, is based on the 2019 Dolores Reyes novel of the same name. The book follows the story of a young woman who has the ability to communicate through visions with the dead and missing people of Argentina by eating the physical land they trod.

“Cometierra” stars Lilith Curiel with supporting roles from Oscar nominee Yalitza Aparicio and Gerardo Taracena. It follows the same outline of the book but is set in contemporary Mexico to address the themes of state violence, femicide and the missing persons epidemic.

The source material and its new twist were what drew Mexican singer-songwriter Natalia Lafourcade to perform the series’s title song, “La Cometierra.”

“We have this reality in Mexico, there’s violence against many women and there’s the disappeared. It’s a very sad situation that we have, but it’s a fact,” the singer said. “It’s inspiring the way the series develops and how this girl, alongside her neighbors, creates a [positive] tribal strength out of her situation.”

Lafourcade especially liked that the series provides an organic avenue for debate and serves as a call to action to recognize that these are all problems in Mexico, while also showing that there is a deep well of beauty within the country.

“We all have a talent that we can always put forward as a service for our family, our country, just for other people,” she said.

The 41-year-old artist’s recently released single channels the energy of the series and its themes by conjuring a spoken word cadence that culminates in a nursery rhyme chant about the powers of the Cometierra.

“I wanted to make a sound that would be very strong and that would present a reality and that the lyrics wouldn’t be smooth,” Lafourcade said. “But at the same time, it would have hope and light and this feeling of joy for the next generations. So I wanted to have this mix of girls singing in a very naive tone, but also mix in a straight voice telling hard truths.”

The song, while geared toward a Mexican experience, now has a striking relevance in the United States as Immigration and Customs Enforcement raids — largely targeting Latinos — continue to take place across the country and as hundreds of detained people have been unaccounted for.

“I hope that music has this capacity to make us wake up and be conscious of situations,” Lafourcade said. “I have realized there are many themes that you can take through music, but sometimes music can become something that you hear truths that probably are not so pretty.”

Regarding some of the ugly truths of the U.S. at the moment, the “Nunca Es Suficiente” artist said that it’s not right that people should feel shame of where they come from and that communities need to show up for themselves at this point in time.

“Nobody should take our pride for our roots, our culture, our people,” she said. “The young lady [in the show] reaches a point where she’s confused about if she should use her power and give it to her people or not. She feels very afraid and insecure and she’s going through all that. But I love how she becomes a hero of her own power and I think that’s the fate of many of us, the way we can make a twist in the story we’re living every day.”

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Chris Evans reveals he turned DOWN hosting hit TV series saying ‘thank God I didn’t do it’

VIRGIN Radio Breakfast Show host Chris Evans has revealed the hit TV programme he turned down presenting.

The broadcaster was speaking with The Office co-creator Stephen Merchant on today’s show when Noel Edmonds cropped up in the conversation.

Chris Evans revealed the popular gameshow he turned down hostingCredit: Virgin Radio UK
Stephen Merchant recalled his early career at the BBCCredit: Virgin Radio UK

Stephen explained: “One of the first times I got a little bit starstruck is I first joined the BBC as a trainee and I was walking around the doughnut at the BBC and coming the other way, Noel Edmonds.

“I think he might have had Cuban heels on, I’m not sure. He had an attaché case. I thought, ‘What are the ideas in there? I bet there’s some quality in there. I bet there’s a Blobby spin-off’. I was a massive Edmonds fan.”

The comedy writer and actor then praised Edmonds’ ability to make long-running gameshow Deal or No Deal a national TV institution.

He said: “That guy, the fact that you could keep that going day in, day out of people opening boxes. I mean, only Edmonds could do it. It’s extraordinary.”

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Chris then revealed the show could have been very different if he’d agreed to present it.

“I was offered that show,” he said Chris. “Thank God I turned it down.”

When Stephen responded, “you’re extraordinary,” Chris quickly clarified that he wasn’t blowing his own trumpet, rather making the point that fate intervened and everything worked out as it should.

Chris explained that production company Endemol offered him the job without the need for an audition or pilot episode, but the former TFI Friday host never entertained it.

He said a DVD of the format lay on his coffee table “for ages” and remained unwatched.

“I wasn’t interested,” said Chris. “No, not for a second. It’s not what I do and Noel did it, it brought him back and he’s one of my heroes. It’s a genius show anyway.”

The pair then laughed about Noel turning the act of opening a box containing a mystery amount of money into a spiritual process that tapped into each contestant’s intuition.

Noel hosted the programme for 11 years between 2005 and 2016 before it was shelved by Channel 4.

The format barely changed in that time with 22 contestants all given a red box, containing an unknown some between 1p and £250,000 in value, at random.

A chosen player then has to select which of their co-stars’ boxes they want to open, hopeful of avoiding big money sums as they go

At intervals, the banker makes the player an offer for their box, which they can decide to take in exchange for their sum or play on until the very end where they will walk away with the mystery amount they were originally allocated.

The programme made a comeback in 2023 on UTV with Stephen Mulhern at the helm.

Listen to The Chris Evans Breakfast Show with The National Lottery on Virgin Radio UK, weekdays from 6:30am

Noel Edmonds revitalised his career with Deal or No DealCredit: Channel 4

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Sean Bean stars in new historical series about the ‘real’ Peaky Blinders

The series will air over four gripping hour-long episodes.

Sean Bean is leading a new factual series delving into the lives of some of history’s most notorious criminals.

From Al Capone to The Krays and the Queen of Harlem, Original Gangsters sees the actor team up with experts to separate fact from fiction when it comes to their legacies.

The show’s first episode, which will air on November 4, is about the Peaky Blinders and it will see Sean Bean delve into the reality behind the Steven Knight hit series, which will be returning.

The synopsis for the episode reads: “Sean Bean unveils the real-life Peaky Blinders who terrorised Birmingham in the late 19th and early 20th centuries.

“From the labyrinthine alleyways of industrial Birmingham in the 1860s through riots and deadly gang warfare where the city’s ruffians battled with police, to the early twentieth century where rogue street mobs coalesced to become organised and eventually united under the hand of one man: Billy Kimber.

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“With testimony from Carl Chinn, the world’s leading expert on Birmingham crime and the Peaky Blinders, discover more on the people behind history’s first intercity gang war.”

The Peaky Blinders street gang consisted largely of young criminals from working class backgrounds who engaged in robbery, violence and illegal bookmaking.

They were recognised by their signature outfits which included tailored jackets and flat caps.

They held control for 30 years until 1920, when a larger gang known as the Birmingham Boys, led by Billy Kimber, overtook them.

Still, the name “Peaky Blinders” became synonymous slang for many of Birmingham’s street gangs.

Episode two of Original Gangsters focuses on Al Capone – an American gangster and businessman who became famous during the Prohibition era.

Episode three looks at Stephanie St. Clair, known as the Queen of Harlem, who ruled Harlem’s numbers rackets in the 1920s.

Episode four explores Ronnie and Reggie Kray, and London’s original ‘Gentleman Gangster’ Billy Hill.

Original Gangsters with Sean Bean airs on Sky History from November 4 at 9pm

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The Sports Report: The Dodgers in the World Series was … inevitable

From Jack Harris: From the outside, the Dodgers know the easy narrative to their season.

About how, after beginning the campaign with the highest expectations imaginable, they spent much of the year failing to live up to the hype.

How, during what was already a dismal second-half slump, they seemed to reach rock bottom when they squandered a no-hitter and three-run lead in a stunning ninth-inning loss in Baltimore last month.

How, in the six weeks since, they’ve looked like a rejuvenated and refocused club, following that nightmarish defeat with a 15-5 finish to the regular season and torrid march through October — going 9-1 en route to a National League pennant and return trip to the World Series, which will begin with Game 1 on Friday night.

In hindsight, however, the Dodgers also insist the story isn’t that simple.

The peaks and valleys of this season, they felt, were never as extreme as they appeared.

Continue reading here

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MLB POSTSEASON SCHEDULE, RESULTS

All times Pacific

ALCS
Seattle vs. Toronto
Seattle 3, at Toronto 1 (box score)
Seattle 10, at Toronto 3 (box score)
Toronto 13, at Seattle 4 (box score)
Toronto 8, at Seattle 2 (box score)
at Seattle 6, Toronto 2 (box score)
at Toronto 6, Seattle 2 (box score)
at Toronto 4, Seattle 3 (box score)

World Series

Dodgers vs. Toronto
Friday at Toronto, 5 p.m., Fox, AM 570, KTNQ 1020, ESPN Radio

Saturday at Toronto, 5 p.m., Fox, AM 570, KTNQ 1020, ESPN Radio

Monday at Dodgers, 5 p.m., Fox, AM 570, KTNQ 1020, ESPN Radio

Tuesday, Oct. 28 at Dodgers, Fox, AM 570, KTNQ 1020, ESPN Radio

*Wed., Oct. 29 at Dodgers, Fox, AM 570, KTNQ 1020, ESPN Radio

*Friday, Oct. 31 at Toronto, Fox, AM 570, KTNQ 1020, ESPN Radio

*Saturday, Nov. 1 at Toronto, Fox, AM 570, KTNQ 1020, ESPN Radio

*-if necessary

LAKERS

From Thuc Nhi Nguyen: Screens in the practice facility display the Lakers’ three mantras. JJ Redick repeats them on a loop. Players have started to parrot them as well.

“Championship habits. Championship communication. Championship shape.”

From the team’s three points of focus to the black “obsession” T-shirts designed by general manager Rob Pelinka, winning the Lakers’ 18th title is task No. 1 in Redick’s second season in charge.

Here are five story lines after training camp as the team opens the regular season Tuesday against the Golden State Warriors:

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CLIPPERS

The Clippers made an offseason push with a win-now perspective, adding a pair of former All-Stars in the backcourt and a pair of veterans up front, plus a promising 6-foot-11 rookie center.

The two areas of concern for the Clippers as they again take aim for the playoffs — and the hopes of advancing past the first round for the first time since their trip to the Western Conference finals in 2021 — are age and chemistry. When they open the season Wednesday against the Utah Jazz in Salt Lake City, the Clippers likely will have the oldest team in the league with an average age of 33.2 years. By contrast, the Oklahoma City Thunder won the title last season at an average age of 24.7 years.

Can coach Tyronn Lue fit all the pieces of the puzzle together?

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RAMS

From Gary Klein: As the Rams begin their off week feeling good about themselves, opposing defensive coordinators have to be experiencing a slight sense of dread.

The Rams’ on Sunday defeated the Jacksonville Jaguars and improved to 5-2 without injured star receiver Puka Nacua, using the opportunity to fully showcase their developing weapons.

None more so than rookie receiver Konata Mumpfield and rookie tight end Terrance Ferguson.

Mumpfield caught the first of Matthew Stafford’s five touchdown passes, a five-yard play that put the Rams in the lead.

Mumpfield, a seventh-round draft pick from Pittsburgh, said he “prayed in college and high school to learn from” a player such as teammate Davante Adams, the three-time All-Pro who caught three touchdown passes.

“It’s kind of, like, amazing,” Mumpfield said. “Every time you step out there, you’re like, dang, you’re out there with a Hall of Famer and a guy that you watched. And just how he approaches the game and how cerebral he is with his technique and everything.”

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THIS DAY IN SPORTS HISTORY

1950 — Tom Powers of Duke scores six touchdowns — three rushing, three receiving — in a 41-0 victory over Richmond.

1956 — Billy Howton of the Green Bay Packers catches seven passes for 257 yards and two touchdowns in a 42-17 victory over the Rams.

1961 — Eddie Arcaro wins the Jockey Club Gold Cup for a record 10th time. His mount, Kelso, wins his second straight Gold Cup.

1967 — The expansion Seattle SuperSonics win their first NBA game, a 117-110 overtime victory over San Diego.

1973 — Fred Dryer of the Rams becomes the first NFL player to record two safeties in a 24-7 victory over the Green Bay Packers.

1979 — Chicago Bulls guard Sam Smith scores the first 4-point play in NBA history during a 113-111 loss to the Bucks at Milwaukee.

2006 — Michigan State rallies from a 35-point, third-quarter deficit to beat Northwestern 41-38 in the biggest comeback in NCAA Division I-A history. Brett Swenson kicks the winning 28-yard field goal with 13 seconds left following an interception by Travis Key.

2007 — Rob Bironas kicks an NFL-record eight field goals, the last a 29-yarder with no time left to give Tennessee a 38-36 win over Houston. Bironas adds two extra points to set the NFL record for most points by a kicker, with 26. The Texans, trailing 32-7, survive backup quarterback Sage Rosenfels’ four touchdown passes in the fourth quarter. Rosenfels’ fourth touchdown pass, a 53-yarder to Andre’ Davis to put Houston up 36-35 with 57 seconds to play, ties an NFL record.

2007 — New England’s Tom Brady passes for 354 yards and a team-record six touchdowns in a 49-28 victory over Miami.

2012 — Tamika Catchings scores 25 points to help the Indiana Fever win their first WNBA title with an 87-78 victory over the Minnesota Lynx.

2017 — Steven Stamkos and Nikita Kucherov extend their season-opening points streaks to nine games, sending the Tampa Bay Lightning past the Pittsburgh Penguins 7-1.

Compiled by the Associated Press

THIS DAY IN BASEBALL HISTORY

1975 — Carlton Fisk breaks up a thrilling contest with a homer in the 12th inning to give the Boston Red Sox a 7-6 victory over the Cincinnati Reds and force a seventh game in the World Series.

1980 — The Philadelphia Phillies win the World Series for the first time in their 98-year history, defeating the Kansas City Royals 4-1 in six games.

1998 — The New York Yankees win 3-0 at San Diego, sweeping the Padres for their record 24th World Series championship.

2006 — Two rookie pitchers start the World Series for the first time. Anthony Reyes pitches into the ninth inning to help St. Louis cruise past Detroit and Justin Verlander 7-2 in Game 1.

2015 — Daniel Murphy and the New York Mets finish a playoff sweep of the Chicago Cubs with an 8-3 victory to reach the World Series. Murphy homers for a record sixth consecutive postseason game.

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at [email protected]. To get this newsletter in your inbox, click here.

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9 concerns Dodgers should have about facing Blue Jays in 2025 World Series

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The Blue Jays’ bullpen, frankly, has not been very good in this postseason. Entering Monday’s Game 7, the group had a 6.02 ERA and only one successful save.

In that Game 7, however, the Blue Jays showed the ability that still resides in that group.

Louis Varland, a right-hander acquired at the trade deadline, recorded four outs while giving up just one run, and has a 3.27 ERA in the playoffs. Seranthony Domínguez, another right-handed deadline acquisition, pitched a scoreless inning to lower his October ERA to 4.05.

Toronto used a couple starters from there, getting scoreless innings from Gausman and fellow veteran Chris Bassitt.

But at the end, the final three outs belonged to veteran right-hander Jeff Hoffman, a 2024 All-Star who had a disappointing debut season after signing in Toronto this offseason, but now has both of their postseason saves.

The Blue Jays’ one big bullpen weakness is its lack of dominant left-handed depth. Mason Fluharty has been their best southpaw, but has a 6.23 ERA in the playoffs. Brendon Little, Eric Lauer and ex-Dodger Justin Bruihl are also on their roster, but haven’t been any more effective.

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How to see Dodgers in World Series in person without a ticket

If you crossed “see the Dodgers in the World Series” off your bucket list last year, here’s a bucket list update for you: See the Dodgers in the World Series, from the comfort of a hotel room with a full view of the field.

Not at Dodger Stadium, of course. In Toronto, however, where a hotel is built into the ballpark and 55 rooms allow you to open the curtains and catch the game without a ticket.

During the World Series, the nightly rate for these rooms starts at $3,999 (in Canadian dollars, or about $2,850 in U.S. dollars).

A view of the field from one of the rooms at the Toronto Marriott City Centre.

A view of the field from one of the rooms at the Toronto Marriott City Centre.

(Toronto Marriott City Centre.)

That is a lot of money. Then again, the rooms sleep up to five people, and good luck getting five World Series game tickets for that price.

You have to get to Toronto, and that costs a lot of money too. But you don’t need to pay separately for game tickets and a hotel, and you can get room service instead of standing in line at concession stands.

The rooms include chairs that face the field, so you don’t have to stand on your bed to catch the action. And you never know: a player could toss you a ball during batting practice, right through your window. Take a look:

Information and reservations: Toronto Marriott City Centre Hotel.

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Blue Jays beat Mariners in ALCS, will play Dodgers in World Series

George Springer put Toronto ahead with a three-run homer in the seventh inning and the Toronto Blue Jays advanced to the World Series for the first time since 1993 by beating the Seattle Mariners 4-3 in Game 7 of the American League Championship Series on Monday night.

It was the first go-ahead homer in Game 7 history when a team trailed by multiple runs in the seventh inning or later.

The Blue Jays will host Shohei Ohtani and the Dodgers in Game 1 on Friday night when the World Series comes to Canada for the third time. The defending champion Dodgers swept Milwaukee in the NLCS.

The Blue Jays were playing in a Game 7 for the first time since losing at home to Kansas City in the 1985 ALCS.

Cal Raleigh and Julio Rodríguez each hit a solo home run for the Mariners in the team’s first Game 7 but Seattle failed to reach its first World Series, leaving the heartbroken Mariners as the only major league team without a pennant.

Addison Barger walked to begin the seventh and Isiah Kiner-Falefa followed with a single. Seattle right-hander Bryan Woo was removed after Andrés Giménez advanced the runners with a sacrifice bunt, and Springer greeted Eduard Bazardo with his fourth homer of this postseason, a 381-foot drive to left field that got the sellout crowd of 44,770 roaring.

Toronto went 54-27 at home in the regular season and 4-2 at home in the AL playoffs.

Making his first bullpen appearance since Game 5 of the 2021 Division Series, Kevin Gausman pitched one inning of scoreless relief, working around three walks, to earn the win for Toronto.

Fellow starter Chris Bassitt pitched a perfect eighth and Jeff Hoffman finished for his second save this postseason.

Rodríguez opened the game with a double and scored on a one-out single by Josh Naylor. Daulton Varsho tied it with an RBI single off George Kirby in the bottom half before Rodríguez restored the lead for Seattle with a leadoff homer in the third.

Raleigh, who led the majors with 60 homers in the regular season, made it 3-1 with a leadoff homer against Louis Varland in the fifth.

Raleigh has 10 home runs in 15 career games at Rogers Centre, three of them in the postseason. He also homered at Toronto in Game 1 of a 2022 wild-card series and Game 1 of this year’s ALCS.

Naylor was called out to end the first after umpires ruled he interfered with Ernie Clement’s relay to first base on a double play by jumping into the throw and deflecting it.

Kirby yielded one run and four hits in four innings. He walked one and struck out three.

Blue Jays starter Shane Bieber permitted two runs and seven hits in 3⅔ innings. He walked one and struck out five.

Toronto slugger Vladimir Guerrero Jr. arrived at the stadium wearing a Maple Leafs hockey jersey with Auston Matthews’ name and number. The star forward is 0-6 in Game 7s with Toronto during his 10 seasons in the NHL.

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Why the Dodgers’ return to the World Series was only a matter of time

From the outside, the Dodgers know the easy narrative to their season.

About how, after beginning the campaign with the highest expectations imaginable, they spent much of the year failing to live up to the hype.

How, during what was already a dismal second-half slump, they seemed to reach rock bottom when they squandered a no-hitter and three-run lead in a stunning ninth-inning loss in Baltimore last month.

How, in the six weeks since, they’ve looked like a rejuvenated and refocused club, following that nightmarish defeat with a 15-5 finish to the regular season and torrid march through October — going 9-1 en route to a National League pennant and return trip to the World Series, which will begin with Game 1 on Friday night.

In hindsight, however, the Dodgers also insist the story isn’t that simple.

The peaks and valleys of this season, they felt, were never as extreme as they appeared.

“Obviously, the season went the way it went,” veteran third baseman Max Muncy said of a 93-win campaign that, despite including another NL West title, qualified as a disappointment compared to their preseason prognostications. “It’s a long season. It’s a lot of games. We dealt with a lot.”

But, Muncy added as beer and sparkling wine were sprayed all around him in the Dodgers’ clubhouse Friday night, in celebration of the team’s fifth Fall Classic trip in the last nine seasons: “We always knew what we had in the clubhouse. We always knew what we had on the field. Now, you’re starting to see it.”

This, indeed, was always the plan. One that, even in their worst moments, they believed would happen all along.

Last fall, the Dodgers’ run to a World Series championship truly did feel surprising. Their starting rotation was ravaged. Freddie Freeman entered the playoffs with ankle and rib injuries. And there were genuine October doubts to overcome, after upset first-round eliminations the two previous years.

That team also had identifiable turning points, from a belief-instilling clubhouse meeting called by manager Dave Roberts in mid-September, to an NL Division Series comeback against the San Diego Padres that catapulted them through the remainder of the playoffs.

When they finally reached the mountaintop, led by a hobbled Freeman and heroic performances from an overachieving bullpen, it was an accomplishment of determination and perseverance; a triumph that, even internally, not everyone always saw coming.

This year, by contrast, the Dodgers viewed their path differently.

On paper, the defining point of the season appeared to be that Sept. 6 loss to the Orioles — a day that began with another clubhouse meeting from Roberts, who gathered his team amid a stunning 22-31 slump that stretched to early July; then ended in disastrous fashion, when Yoshinobu Yamamoto lost a no-hit bid with two outs in the ninth, before a withering bullpen imploded to lose the game in a walk-off meltdown.

“Losing that game, to a team that’s not even in playoff contention, you started thinking, ‘What’s wrong with us?’” infielder Miguel Rojas recalled.

But looking back last week, several other teammates said, the Dodgers never fully felt the panic that was swirling around them.

Instead, they trusted the talent of their record-setting $415-million roster to eventually rise to surface. They banked on getting healthy, then eventually turning the ship.

“We’ve been there before,” Freeman said. “We knew we were OK.”

“At some point, we were gonna start clicking,” Muncy added. “[We just needed] guys coming back and getting healthy.”

Early in the season, after all, the Dodgers had been healthy and clicking. Their 8-0 start was better than any defending champion in MLB history. Their 29-15 record through mid-May had them on a 107-win pace.

“You look at the start of the season, when we had everybody, we were playing really good,” Muncy said. “If our team was our team the whole year, maybe we would’ve lived up to those expectations.”

The Dodgers, of course, did not have their full team for much of the next three months, when they played exactly .500 baseball (49-49) from May 16 through that Sept. 6 loss in Baltimore.

On the mound, the rotation was battered by injuries to Blake Snell, Tyler Glasnow, Roki Sasaki and Tony Gonsolin. That put added strain (and innings) on a bullpen still feeling the aftereffects of the previous October.

The lineup also dealt with its own injury problems. Freeman started the year still nursing his ankle, which required surgery over the offseason. Mookie Betts was behind the eight ball from the start following a spring-training stomach virus. In the summer, Tommy Edman, Teoscar Hernández and Kiké Hernández each missed time, then returned playing less than 100%. Muncy was in and out of action during the second half, too, suffering a knee injury in July and oblique strain in August.

In retrospect, Muncy noted, it was a dynamic that the Dodgers (who have MLB’s oldest average lineup age at 30.7 years old, and were coming off a physically taxing postseason run the previous year) always figured to grapple with.

“The reality of it is — and we all know this, everyone up top knows it — our team wasn’t going to make it through the full season without breaking at some point,” he said. “So it was just, how do you weather those [low] moments?”

Problem was, they didn’t always do that well, either.

For much of July and August, the Dodgers had one of the lowest-scoring offenses in baseball, suffering from an occasional lack of focus and intensity some people in the organization later attributed to a World Series hangover.

Their faulty bullpen only made matters worse, contributing to a 5-20 record in games decided by two runs or less from early July to early September.

When Roberts called for his pregame clubhouse meeting that day in Baltimore, it was only the latest in a string of speeches he’d delivered to different groups of players on the team in prior weeks. By that point, efforts to snap out of the second-half malaise had been ongoing for a while.

“We’re doing everything in our power, having closed meetings, doing everything that we can, to try to right the ship,” Shohei Ohtani said through an interpreter on the night the Dodgers fell to second place in the division after being swept by the Angels in August. “We just have to do a better job.”

“There’s no sugarcoating this,” Freeman echoed a few weeks later, when another confounding sweep to the Pittsburgh Pirates in early September was followed by another walk-off loss to the Orioles in team’s series-opener in Baltimore. “We need to figure this out, and figure this out quick.”

That, however, is where the 2025 Dodgers differed from the previous year’s team.

Even at their lowest, they didn’t feel hopeless.

Once they got healthy again, they believed better play would follow.

“Everyone was like, ‘We’re going to hit. We’re going to pitch well out of the bullpen. It’s just going to happen,’” Freeman said. “We’ll figure it out. We’ll get there.”

The main driver of the turnaround since was the pitching. Snell and Glasnow had already returned from their injuries by September, but didn’t find a rhythm until the final weeks of the year. Yamamoto also got hot, giving up just one run in his three starts after the near no-hitter. Emmet Sheehan and Clayton Kershaw, who had been out at the start of the year recovering from surgeries, flourished to give the rotation added depth.

Ohtani (while posting MVP numbers offensively) also built his way up to a full starter’s workload, after previously being limited to short outings coming off his second career Tommy John surgery.

Sasaki, meanwhile, made a late-season return in the bullpen, giving that group an anchor it had previously been missing.

“We started winning because our starting pitching was just so good,” Freeman said, after the group produced a 2.07 ERA in September and 1.40 mark in the first three rounds of the playoffs.

“As an offense, when you see your starting pitcher just throwing zeros over and over and over again, it’s like, ‘C’mon, just get one, get two, get three.’”

That kind of consistent production indeed began to reemerge too.

There was better health and improved individual performances, especially from Ohtani, Betts and Freeman (who combined for 22 home runs and 54 RBIs during the Dodgers’ resurgence in September). There was renewed emphasis from the coaching staff on quality at-bats and team offense (helping the Dodgers average 5.6 runs per game over their final 20 contests).

There was also increased accountability the players placed on one another, challenging themselves to elevate their game the closer they got to postseason baseball.

“We always knew we were going to be a really, really good team in October,” Muncy said. “Once you get to October, it’s, ‘Alright, it’s game time.’ That’s how we’re taking it.”

That mindset has continued to manifest in the playoffs, where many of the Dodgers’ biggest moments — from the wheel play they turned in Philadelphia, to the 11-inning marathon that sent them to the NLCS, to the string of low-scoring victories they pulled out against the Milwaukee Brewers — have been born of veteran poise and a battle-tested composure.

“It’s an advantage to having such a veteran group,” Kiké Hernández said. “We’ve played in a lot of big games together.”

And now, they’ll do so again in yet another World Series appearance, playing the kind of baseball just like they expected all along.

“Showing up to spring this year, it was, ‘Hey, we need to repeat,’” Muncy recalled. “It wasn’t like we wanted to repeat. It was like, ‘Hey, we need to’ … Because that’s just how good we are.”

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‘Hal & Harper’ review: A dramatic yet natural reflection of a family

“Harper & Hal,” premiering Sunday on the cinema-centric streamer Mubi, is a gorgeous, generous limited series that has nothing to show you other than people, how they are and how they do or do not get along. Its elements are not unfamiliar, because they’re drawn from life, rather than from the movies — or just from the movies, as they’re subjects to which the movies have often turned.

But, like this year’s “Adolescence,” which it (differently) resembles in its mix of naturalism and artifice, the series, written and directed by and starring 28-year-old Cooper Raiff — writer-director-star of the indie features “Shithouse” and “Cha Cha Real Smooth” — demonstrates that something fresh can still be done in an oversaturated medium.

While the story spreads out over eight episodes, the cast is compact. Harper (Lili Reinhart) is the daughter of Mark Ruffalo’s character, credited only as “Dad”; Hal (Raiff) is her younger brother. Alyah Chanelle Scott plays Jesse, Harper’s longtime girlfriend; Havana Rose Liu is Abby, Hal’s shorter-time girlfriend; Kate (Betty Gilpin) is Dad’s girlfriend. The company is completed by Audrey (Addison Timlin), divorced with two small children, who shares an office with Harper, and Hal’s roommate, Kalen (Christopher Meyer).

In scenes set in the past, Reinhart and Raiff play their younger selves, a la Maya Erskine and Anna Konkle’s “Pen15,” with less overt comedy, though Raiff’s performance as very young Hal, whom no one in the series describes as hyperactive (though I will — not a doctor) is often funny. It’s not a gimmick but a device — much as the one-shot production of “Adolescence” was not performative cleverness, but the right fit for the material — both in the sense of the child being the parent of the adult, and because it allows for a different, deeper sort of performance than one is liable to get from a first or a third grader. (As spookily good as small child actors can be.) Significantly, it unifies the characters across time.

A confluence of events triggers the drama. The house Hal and Harper grew up in — and which Dad, who spends much of the series seriously depressed especially, can’t let go — is being sold. (Harper and Hal are in L.A.; the house, and Dad and Kate, are elsewhere.) Kate is pregnant; there’s a chance the baby might have Down syndrome, which leads Dad to reflect that with “a disabled kid … you gotta meet them where they are every day” and that he might have been a more present parent to his older children. Jesse has a job offer in Texas and wants Harper to come with her. Hal, a college senior who isn’t pointed anywhere in particular, though he likes to draw, breaks up with Abby after learning — when she tells him she’d like them to become “exclusive” — that up until then they hadn’t been. And Harper has become attracted to Audrey.

The loss of their mother and their father’s unresolved grief has made Hal and Harper unusually close; she’s a caretaker to her brother, who, even though he’s grown, sometimes wants to crawl in bed next to her; at the same time, Harper’s internalized the feeling that she’s holding everything together, which makes it hard to move on. They’re on an island together.

“Are we friends?” young Hal asks Harper.

“We’re brother and sister,” she replies.

“Not friends.”

“I guess we can be friends, too.”

There is an almost complete absence of expository dialogue. The characters are not afflicted with speechifying; silences allow the viewer to enter into the spaces between them, and to let their experience echo with one’s own. (If you’ve lived long enough to be reading television reviews, you’ve felt some or all of these things.) There’s no wall of declaration erected between the viewer and the viewed, but the actors, Reinhart and Gilpin especially, can destroy you with a look. (Although some writers and actors love them, there’s nothing that feels less true to life than a long monologue.)

Though the story feels organic, it’s also highly structured, stretching the length of Kate’s pregnancy, shot through with resonances and reflections — “I Will Survive,” sung by adult Harper at karaoke and in a flashback as part of a children’s chorus, or a precocious young Harper reading “One Hundred Years of Solitude.” “It’s about this family where everyone’s super lonely,” she tells Hal, shining a light back on her own, “but then it gets even worse because they withdraw and they became selfish and so miserable. But maybe it gets better.” (We see her often with a book.) There’s a slow-fast rhythm to the cutting; short scenes alternate with long; memories explode in montage. Just as Raiff doesn’t bother overmuch with explanations, he eliminates transitions. We’re here, then we’re there. You won’t get lost.

Once or twice, I fretted Raiff might be steering his ship to some cliched dark outcome, but I needn’t have worried.

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Trigger Point star Vicky McClure reveals PTSD and addiction battle ahead of new series

Explosives Officer Lana Washington is set to face some daunting times in Trigger Point’s third series as Vicky McClure teases another high-stakes season for the ITV hit series.

Vicky McClure promises more adrenaline, danger and depth in the explosive third series of Trigger Point – but her alter ego Lana is set for a gruelling addiction and PTSD battle.

“It’s more exciting,” she says, “We made it bigger. We’ve got new cast members. People that weren’t on series two were really excited to be on the show.”

This year, the hit ITV show doesn’t just go bigger – it gets bolder. “We’re moving with the times,” Vicky McClure adds, “We’re making sure that it feels epic.”

Once again, the Line Of Duty star returns as bomb disposal expert Lana Washington – while also taking the reins as an executive producer.

Series three opens with a nerve-wrecking emergency: Lana is called to a wasteland where a man is trapped inside a taxi. A sign nearby orders him to “confess” to a mysterious crime – or die trying to escape.

What first appears as a one-off hostage crisis quickly spirals. As panic builds up, Lana realises she’s hunting a serial perpetrator. New actors have joined the line-up. Lost Kingdom star Mark Rowley plays Rich Manning, and Primeval actor Jason Flemyng is villain Steven Wyles.

READ MORE: Beauty fans bag luxurious skincare advent calendar worth £894 for under 10% of cost

“I always play a lot of baddies and I look like a baddie but the truth is he’s another little man that is fighting the system and that has been hard done by,” Jason says.

“He’s had enough of the capitalist system putting profit before people. He takes retribution.” The villain quickly develops a complicated bond with Lana.

“She’s not battling him, it’s just that he’s breaking the law and doing something which puts other people in danger. That’s the essence of that relationship,” Jason says.

Their bond culminates in a brutal face-off – one Jason vividly remembers. “We shot in this town hall in Wembley and we parked underneath it,” he says.

“I went to see Oasis recently and went to the town hall because that’s where Vicky and I had a fight. I parked right outside because I knew the town hall.”

This season also digs deeper into Lana’s personal trauma. After surviving a kidnapping by a terrorist group in season two, she’s still grappling with the aftermath.

“When we first started talking about series three, we wanted to touch on PTSD for sure and how that was for Lana,” Vicky says. “It’s so unique to everybody. We all know Lana’s lost a lot of people close to her throughout the series. There’s no way that’s not going to have an effect on her.”

The emotional toll takes unexpected forms. “We’ll see Lana going through an addiction while she’s working and how she handles that, who picks up on it,” Vicky teases, “She’s incredible but she’s also human. She makes a lot of mistakes. That’s the downfall of being a heroic character.”

Vicky also gets an upgrade – literally. “We’ve had three different bomb suits now,” Vicky says, “This was the lighter version and it was still bloody heavy . It was much easier to walk in.”

Despite the physical and emotional intensity, Vicky thrives on bringing Lana’s vulnerability to the surface. “It’s been nice because Lana’s having to lean more on other people,” she says.

“There’s a much closer knit between the EXPOs (Explosive Officers),” she adds, crediting former British Army bomb disposal expert Joel Snarr for his insight. “There’s a lot of life in it. It feels real. We’re trying to get into the mentality of an expo and speaking to people like Joel, you get that.”

Even the smallest details matter to Vicky. “One thing that drives me nuts is watching people drink tea on telly without tea or (carrying) bags without anything in them,” she says, “I’ve got this bag on my back every day, so I fill it with anything that Lana needs. I feel like I’ve got the weight of Lana on me.”

She even recalls a particularly funny moment on set. “They’d made a foam breezeblock for me. I know I’m 42 and cracking on but I can still pick up a breezeblock,” she says.

“Cut to take five and I was like, ‘what the hell did I choose the real one for?’ But the foam one looked terrible. After Trigger Point, I feel fit as a fiddle, which is rare for me because I’m not a massive fan of the gym. I went there once this year.”

Production for series three rolled straight into filming for series four, after ITV swiftly renewed the drama. The cast and crew spent a total of nine months shooting in London. “We just strap in and get the job done,” says Vicky.”

Trigger Point airs on Sunday 26th October on ITV.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.



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What ‘The Diplomat’ boss told Kamala Harris about the show

Welcome to Screen Gab, the newsletter for everyone who spent the week belting “You Don’t Own Me” with the same gusto as an empowered ex-wife dressed in white.

Diane Keaton died this week at age 79 at her Los Angeles home. The L.A. native had a career that spanned more than five decades and included a wide-ranging and indelible list of performances in films such as “The Godfather” saga, “Annie,” Baby Boom,” “Father of the Bride” (and its sequel), “The First Wives Club,” “Something’s Gotta Give,” “The Family Stone” — the list goes on and on. Take a moment to read film editor Joshua Rothkop’s illuminating snapshot of Keaton’s life. Of course, her legacy goes far beyond the performance. Times film critic Amy Nicholson wrote how Keaton showed us how to dress up our insecurities and embrace the kooky. And if you want to take a dive into her oeuvre, we have a roundup of 10 Keaton performances worth watching. Pluto TV is featuring an on-demand collection called “Remembering Diane Keaton,” with 15 of her most beloved films available to stream anytime.

And speaking of women who leave a lasting impression — this week saw the return of Keri Russell as Kate Wyler, the highly competent seasoned foreign service officer, with the arrival of “The Diplomat’s” third season. The Netflix series has spent its time tracking the career diplomat’s journey being primed to assume the role of vice president. Its backdrop storyline of an aging president who is expected to pass the torch to a younger female vice president — and the chaos that ensues when the plan is upended — may have real-world parallels, but the show’s creator, Debora Cahn, whose other credits include “The West Wing” and “Homeland,” insists the series is not a commentary. She stopped by Guest Spot to discuss the political thriller.

Also in this week’s Screen Gab, our streaming recommendations are an eclectic pair: a documentary that chronicles the 60-year movement to convert abandoned railroads into public spaces around America and, for those looking to make their viewing of Guillermo Del Toro’s take on “Frankenstein” a double-feature kind of night, we make the case for a ‘90s gory horror-comedy twist on the legend.

ICYMI

Must-read stories you might have missed

A woman

Diane Keaton arrives at a news conference at the 40th Cannes Film Festival to introduce her feature directorial debut, “Heaven,” in 1987.

(Michel Lipchitz / Associated Press)

Diane Keaton, film legend, fashion trendsetter and champion of L.A.’s past, dead at 79: The Oscar-winning star was known for films including ‘Annie Hall’ and ‘The Godfather.’

Can the DMV make you laugh instead of cry? With Harriet Dyer, it’s possible: The Australian actor plays a sunny driving examiner in ‘DMV,’ the new CBS workplace comedy premiering Monday that’s set in East Hollywood.

What’s there left to say about the Murdaugh murders and ‘killer clown’ John Wayne Gacy? A lot: Hulu’s ‘Murdaugh: Death in the Family’ and Peacock’s ‘Devil in Disguise: John Wayne Gacy’ are based on notorious slayings that received reams of news coverage in their day, but each tells a captivating story.

‘Grey’s Anatomy’ reaches its 450th episode. Meet the people who’ve been there from the start: The long-running ABC medical drama reached a rare milestone this week. Meet three cast and crew members who have been with the show from the beginning.

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Recommendations from the film and TV experts at The Times

People walk or ride bikes along a paved path flanked by grass and trees

A view of the Island Line Trail in “From Rails to Trails.”

(PBS)

“From Rails to Trails” (PBS.org)

Trains ran close to where I grew up, and I’m still stupidly excited whenever I see one in action. There are fewer now than there were then, but part of their romance is the alternative routes they carved through the land. “From Rails to Trails” documents the 60-year movement to transform abandoned rail lines — which is to say, most rail lines — into paths for biking and hiking, turning them into linear public parks, making the countryside accessible but also remaking urban spaces. It’s a movement not without its opponents, its reversals and consequences, including the gentrification that can follow them. But this often moving hour-long documentary is a paean to old-fashioned coalition building and community activism — needed now more than ever — and the success of a new idea many now take for granted. Former Vermont governor Howard Dean and former Secretary of Transportation Pete Buttigieg chime in. New voice of the everyman Edward Norton narrates. — Robert Lloyd

“Frankenhooker” (Pluto TV, Tubi)

The lament of “The Bride of Frankenstein” is that the heroine herself is only onscreen for a few minutes. Get your fix by watching Frank Henenlotter’s “Frankenhooker.” This sleazy-brilliant 1990 romp is so clever it ranks (severed) head and shoulders with the black-and-white classics. An inventor, Jeffrey (James Lorinz), is bereft over losing his fiancée Elizabeth (Patty Mullen) to a freak lawnmower accident. He vows to rebuild his future bride — but hotterr. “I can make you the centerfold goddess of the century,” Jeffrey says with a leer. The real vanity is his. He wants a sexy, mindless babe. Henenlotter (also of the schlock hit “Basket Case”) claimed he didn’t think deeply about the subtext of his horror movies, a feint that dates back farther than George A. Romero pretending “Night of the Living Dead’s” martyred Black hero wasn’t a comment on race. They’re both fibbers. “Frankenhooker” is a giddy, popcorn-chomping comment on the disposability of women, especially the sex workers Jeffrey murders for spare parts. But what brings it to life is Mullen’s uproarious resurrected sexpot. Stomping around wearing a purple bra and a ghastly sneer, she belongs to no man — ring on her finger or not. Make it a double feature with Guillermo Del Toro’s terrific new “Frankenstein” in theaters this week. — Amy Nicholson

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Three well-dressed people -- a man sitting between two women -- gaze to their right while seated for dinner

Allison Janney as Grace, Rufus Sewell as Hal Wyler and Keri Russell as Kate Wyler in Season 3 scene from “The Diplomat.”

(Alex Bailey / Netflix)

Will the U.S. ever be ready for a female president? Time will tell. But “The Diplomat” has provided its contribution to the list of fictional ones. The Netflix drama, a fast-paced look at the art of diplomacy, stars Keri Russell as Kate Wyler, a newly-appointed U.S. ambassador to the United Kingdom who is tapped from the ranks of career diplomats to be quietly prepped to become vice president. The plan, of course, hasn’t gone as expected. In the whirlwind final moments of last season, the president dies and suddenly the person Kate was enlisted to push out, Vice President Grace Penn (Allison Janney), is whisked into duty — just as Kate has discovered the VP is responsible for hatching a terrorist plot. The show returned for its third season earlier this week and explores the aftermath as Penn is sworn in as president. Here, creator Debora Cahn shares what she was interested in unpacking in Season 3’s marriage dynamics, orchestrating a “West Wing” reunion and the time she met former Vice President Kamala Harris. There are some mild spoilers ahead, so bookmark for later if you haven’t begun the season! — Yvonne Villarreal

What did you want out of Kate’s journey this season? Her professional ambitions are once again tested by her marriage. Hal keeps claiming it’s Kate’s time to be in the spotlight and yet he manages to steal it.

We wanted to look at how it happens that someone like Hal winds up in the spotlight even when he’s desperately trying not to; the circumstances that surround decisions like this, which make it such that even the people in the middle of them don’t really have any control over it. You can look at what Grace is doing, and you can understand why she thinks Kate is fantastic, but that the choice, in terms of what’s going to make it easier for her to get through the day, is Hal. And we didn’t want to have a science fiction White House where there are two women happily running the country. That’s just not the world that we’re living in. And it felt like the most honest thing that we could do is tell a story about what it means to be really qualified and really experienced and really ready, and then watch it all slip away at the last second.

The season includes a delightful “West Wing” reunion, a show you wrote for. Allison Janney returns as VP-turned-President Grace Penn and Bradley Whitford portrays her husband, Todd. What was it like to see them back together onscreen? And what did you want their marriage dynamic to say?

It was like first day of school jitters for the first day that each of them was on set. We really wanted to make sure that this was something new and it wasn’t a reference to the work that we’d done together in the past. And the second they started, it was just clear that we were watching a new relationship that these two great actors were building together and informed by the fact that they know each other quite well and that they’ve been good friends for 20 years, but using that to create something new and fresh and really, really satisfying.

This is a marriage that has some very similar structural dynamics to Kate and Hal, but there are some fundamental differences, which is, there was never an assumption that Todd’s career could continue to function alongside Grace’s once she became vice president; and certainly when she becomes president, there’s no question that will become the focus for both of them. And so there are dynamics that Kate and Hal still wrestle with, which we see are kind of absolved with Todd and Grace. And in some ways that helps, and in some ways it doesn’t help.

We’re looking at a couple that’s 10 years farther down the road in their marriage and have made, in some ways, a more pragmatic decision about what it means to have two smart, capable people with careers existing at the same time. Their decision is that one of them isn’t going to exist right now. I think the thing that I enjoy most about both Hal and Todd is that these are people who really, really, really love their wives and really want to be supportive and they still fail or they struggle so, so mightily. We’ve talked about this before: I don’t like writing villains. I don’t want to write politicians that have bad values or selfish goals. I also don’t want to write people in a marriage who don’t give a s— about each other. I would much rather look at the much larger problem, which is, you do really care about each other. You do really want the best for each other, and you still can’t manage to make it happen.

A standing woman looks down at a man lounging on a sofa.

Allison Janney as President Grace Penn and Bradley Whitford as First Gentleman Todd Penn in “The Diplomat.”

(Clifton Prescod / Netflix)

“The Diplomat” premiered in a different political climate from the one it’s in now. The show is not a direct commentary on what’s happening now, but how does the current reality, particularly as it relates to what those in civil service are facing, inform how you think about or build stories moving forward? What sorts of questions are you asking now of people who work in the government?

We write a story two years before the audience watches it, so we we don’t want to be making a direct commentary. Even if we did, the world is moving so fast, we couldn’t try and keep up. But we do want to be in the foreign policy headspace that the world is in, and try to be looking at what are the bigger questions and bigger conflicts that face people who are working in this field. We think a lot about the fact that 300,000 people were fired from the federal government. We think a lot about what it’s like to work for this administration and — I’m trying to figure out what to say without getting into Season 4, which I don’t want to do. It doesn’t inform the specifics of any of the stories that we’re telling, but it does inform the worldview and the bigger questions that face people in this field as the field changes. As the world changes.

You’re writing about people whose job it is to make hard decisions every day. What was the hardest decision you had to make for this third season — either in the writing phase or the production phase?

We moved the base of production from the UK back to New York. The first two seasons we were based in the UK, and then for Season 3, we did half and half. There were a lot of really good reasons for that. It also meant that we had a crew that grew this organism with us — and we were very close to them; they had huge influence on the show — and leaving them behind was really, really terrible. It’s a tough time in the film and television industry right now, and we felt pretty good about bringing jobs back to this community. That was something that was important to us and we really wanted to do. So, we are comfortable with the decision that we made, but, boy, it sure wasn’t fun making it and going through it. It’s people’s livelihood. It’s not a small thing.

Former Vice President Kamala Harris recently released a book chronicling her whirlwind and brief campaign as a 2024 presidential candidate. Have you read it?

I have not read it. But did I tell you about when we met her?

No. Tell me. You were also filming this third season during the election, right?

We were we were shooting it during the election. We were writing it during the election. And we we were worried about how it was going to look. We didn’t want it to look like a commentary on this presidency. But we did have a female vice president that we liked a whole lot, and a male president that we really loved and was of a certain age and didn’t make it through the process — the dynamics kept getting more and more troubling.

Keri and I were at the [White House Correspondents’] Dinner. And there was a receiving line, and we met and shook hands with the president and the first lady and the vice president and the second gentleman. And I said, “Ma’am, I’m writing a story about what it’s like for a woman who’s really experienced and really smart and really capable and really ready to do a job who then gets passed over for someone who is perhaps less qualified.” And she laughed. Then she said, “Call me.”

Have you called?

I have not called. I felt like she had some stuff going on. I didn’t really want to bother her and say, “Heyyyyy … let’s talk about how that went …”

What have you watched recently that you are recommending to everyone you know?

“Dying for Sex” [Hulu, Disney+]. It was brutal and intense and very funny and extremely well-written. And I just thought what they did from a public health service perspective, sharing practical information about what it actually means to go through the process of death, I thought it was just a huge public service.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

“Postcards from the Edge” [VOD] — it is just so smart and so funny and both Shirley MacLaine and Meryl Streep are just absolutely to die for.

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Afghanistan pulls out of cricket series after it says Pakistan air strike killed local players

BBC A large crowd of likely hundreds of people seen outside beside mountainsBBC

A large crowd gathered for the players’ funeral on Saturday

Afghanistan will no longer take part in an upcoming cricket series after three players in a local tournament were killed in an air strike, the nation’s cricketing body says.

The Afghanistan Cricket Board (ACB) said it would withdraw from November’s tri-nation T20 series out of respect for the dead, who it said were “targeted” in an “attack carried out by the Pakistani regime” on Friday. The three did not play for the national team.

The strike hit a home in Urgon district in Paktika province, where the players were eating dinner after a match, witnesses and local officials told the BBC.

Eight people were killed, the ACB said. Pakistan said the strike hit militants and denied targeting civilians.

The ACB named the three players who were killed as Kabeer Agha, Sibghatullah and Haroon, calling their deaths “a great loss for Afghanistan’s sports community, its athletes, and the cricketing family”.

The International Cricket Council (ICC) said it was “deeply saddened and appalled” by the “tragic deaths of three young and promising Afghan cricketers” in an air strike that also “claimed the lives of several civilians”.

“The ICC stands in solidarity with the Afghanistan Cricket Board and echoes their grief,” it said in a statement, adding that it “strongly condemns this act of violence”.

The attack came hours after a temporary truce between Afghanistan and Pakistan was due to expire following days of deadly clashes on the border between the two nations. Dozens of casualties have been reported.

Pakistan said it had targeted Afghan militants in the air strike and that at least 70 combatants had been killed.

Pakistan’s Minister of Information Attaullah Tarar said claims that the attack targeted civilians are “false and meant to generate support for terrorist groups operating from inside Afghanistan”.

Afghanistan Cricket Board/X Three portraits of the killed cricketersAfghanistan Cricket Board/X

The Afghanistan Cricket Board shared this image of the three players who were killed

In a social media post, Afghan national team captain Rashid Khan paid tribute to the “aspiring young cricketers who dreamed of representing their nation on the world stage”.

Other players for the Afghan national side joined the tributes, including Fazalhaq Farooqi, who said the attack was a “heinous, unforgivable crime”.

On Saturday, large crowds of people were seen gathering at the funeral for the strike’s victims.

Several coffins laid out in front of a large outdoor crowd in Afghanistan

The strike came after Pakistani officials said seven soldiers were killed in a suicide attack near the Afghan border on Friday.

The 48-hour truce between Afghanistan and Pakistan, which began on Wednesday at 13:00 GMT, has reportedly been extended to allow for negotiations.

An Afghan delegation arrived in the Qatari capital of Doha on Saturday for peace talks with the Pakistani side.

The Taliban government said it would take part in the talks despite “Pakistani aggression”, which it says was Islamabad’s attempt to prolong the conflict.

Former Afghan President Hamid Karzai said Pakistan should “reconsider its policies, and pursue friendly and civilised relations” with Afghanistan.

Pakistan’s Foreign Office said on Saturday that Defence Minister Khawaja Asif would lead the country’s delegation in Doha.

It said the talks will focus on ending cross-border terrorism and restoring peace and stability on the Pakistan-Afghan border.

Zimbabwe will now replace Afghanistan in the T20 series.

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Shohei Ohtani’s unprecedented night leads Dodgers back to World Series

Two days ago, Shohei Ohtani rolled into Dodger Stadium as a man on a mission.

After struggling for the previous couple weeks — mired in a postseason slump that had raised questions about everything from his out-of-sync swing mechanics to the physical toll of his two-way duties — the soon-to-be four-time MVP decided it was time to change something up.

Over the previous seven games, going back to the start of the National League Division Series, the $700-million man had looked nothing like himself. Ohtani had two hits in 25 at-bats. He’d recorded 12 strikeouts and plenty more puzzling swing decisions. And he seemed, in the estimation of some around the team, unusually perturbed as public criticisms of his play started to mount.

So, during the team’s off-day workout Wednesday at Dodger Stadium, ahead of Game 3 of the NL Championship Series, Ohtani informed the club’s hitting coaches he wanted to take batting practice on the field.

It was a change from his normal routine — and signaled his growing urgency to get back on track.

“If this was a regular-season situation and you’re looking at an expanse of small sample — eight, nine games, whatever it might be — he probably wouldn’t be out on the field,” manager Dave Roberts said later.

But “with the urgency [of] the postseason,” the manager continued, Ohtani “wanted to make an adjustment on his own.”

Whatever Ohtani found that day, evidently (and resoundingly) clicked. He led off Game 3 with a triple. He entered Game 4 looking more comfortable with his swing. And then, in one of the incredible individual displays ever witnessed in playoff history, he lifted the Dodgers straight into the World Series.

In a 5-1 defeat of the Milwaukee Brewers that completed an NLCS sweep and gave the Dodgers their 26th pennant in franchise history, Ohtani hit three home runs as a hitter, and struck out 10 batters over six-plus scoreless innings as a pitcher.

Dodgers star Shohei Ohtani pitches during Game 4 of the NLCS against the Brewers.

Shohei Ohtani pitches during Game 4 of the NLCS against the Brewers. Ohtani struck out 10 over six scoreless innings for the Dodgers.

(Gina Ferazzi / Los Angeles Times)

He made his previously disappointing playoffs a suddenly forgotten memory, earning NLCS MVP honors and to the astonished amazement of all 52,883 in attendance.

And he delivered the kind of game the baseball world dreamed about when the two-way phenom first arrived from Japan, fulfilling the prophecy that accompanied him as a near-mythical prospect eight years earlier.

Back then, Ohtani’s 100-mph fastball and wicked off-speed repertoire had tantalized evaluators. His majestic left-handed swing had tortured pitchers in his home country.

Not since Babe Ruth had the sport seen anything like him.

There were some early growing pains (and injuries) during his transition to the majors. But over the last five years, he blossomed in the game’s definitive face.

A look at the three home runs Shohei Ohtani hit in Game 4 of the NLCS on Friday.

All that had been missing, in a resume chock full of MVPs and All-Star selections and unthinkable records even “The Great Bambino” never produced, was a signature performance in October. A game in which he dominated on the mound, thrilled at the plate, and single-handedly transformed a game on the sport’s biggest stage.

During that Wednesday workout this week, Ohtani got himself ready for one, stepping into the cage during his on-field batting practice — as his walk-up song played through the stadium speakers and teammates gathered near the dugout in curious anticipation — and swatting one home run after another, including one that soared to the roof of the right-field pavilion.

On Friday, in an almost unimaginable showcase of his unprecedented talents, he managed to do exactly the same thing.

After stranding a leadoff walk in the top of the first with three-straight strikeouts, Ohtani switched from pitcher to hitter and unleashed a hellacious swing. Brewers starter José Quintana left him an inside slurve. Ohtani turned it into the first leadoff home run ever by a pitcher (in the regular season or playoffs). The ball traveled 446 feet. It landed high up the right-field stands.

Three more scoreless innings of pitching work later, Ohtani came back to the plate and hit his second home run of the night even farther. In a swing almost identical to his titanic BP drive two days prior, he launched a ball that darn near clipped the pavilion roof again, a 469-foot moonshot that landed in the concourse above the seats in right.

Somehow, there was still plenty more to come.

With the Dodgers up 4-0 at that point, Ohtani then did his best work as a pitcher, following up two strikeouts that stranded a leadoff double in the fourth — and had him excitedly fist-pumping off the mound — with two more in both the fifth and the sixth.

His fastball was humming up to triple-digits. His sweeper and cutter were keeping the Brewers off balance. His splitter wasn’t touched once any of the five times they tried to swing at it.

Shohei Ohtani runs the bases after hitting his third home run of the game.

Shohei Ohtani runs the bases after hitting his third home run of the game against the Brewers in Game 4 of the NLCS at Dodger Stadium on Friday night.

(Gina Ferazzi/Los Angeles Times)

Anything he did immediately became magic.

Ohtani’s loudest roar came in the bottom of the seventh, after his pitching start had ended on a walk and a single led off the top half of the inning.

For the third time, he flung his bat at a pitch over the plate. He sent a fly ball sailing deep in a mild autumn night. He rounded the bases as landed beyond the center field fence.

Three home runs. Six immaculate innings. A tour de force that sent the Dodgers to the World Series.

All of it, just two days removed from Ohtani being seemingly at his lowest.

All of it, when the baseball world was most closely watching.

Dodgers players and coaches celebrate after sweeping the Milwaukee Brewers in the NLCS at Dodger Stadium on Friday night.

Dodgers players and coaches celebrate after sweeping the Milwaukee Brewers in the NLCS at Dodger Stadium on Friday night.

(Robert Gauthier / Los Angeles Times)

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Samantha Eggar dead: ‘Doctor Dolittle,’ ‘Brood’ star was 86

British actor Samantha Eggar, the Oscar-nominated star of films including “The Collector,” “Doctor Dolittle” and David Cronenberg’s “The Brood,” has died. She was 86.

Eggar died Wednesday evening, her daughter Jenna Stern announced Friday on Instagram. Stern said her mother died “peacefully and quietly surrounded by family” and recalled being by the actor’s side “telling her how much she was loved.” A cause of death was not revealed.

Stern described her mother, who was also a prolific TV actor, as “beautiful, intelligent, and tough enough to be fascinatingly vulnerable.”

Eggar pursued a film career that spanned the 1960s to the 1990s and was most celebrated for her work in “The Collector,” directed by William Wyler. The psychological horror movie, based on John Fowles’ novel of the same name, featured Eggar as the youthful art student abducted by a reclusive young man portrayed by Terence Stamp. For the thriller, Eggar collected the Cannes Film Festival‘s actress prize plus a Golden Globe Award and an Academy Award nomination.

After the film’s release, Eggar secured numerous roles, notably in the 1967 iteration of “Doctor Dolittle” opposite Rex Harrison, “Walk, Don’t Run” with Cary Grant, “The Molly Maguires” and “The Walking Stick.”

One of Eggar’s most memorable roles was in Cronenberg’s “The Brood,” released in 1979. She starred as Nola Carveth, a mental patient receiving radical psychotherapy treatment amid a series of mysterious murders. The film also starred Oliver Reed and Art Hindle.

Throughout her film career, Eggar also appeared in scores of television series ranging from “Anna and the King” (opposite “The King and I” star Yul Brynner), “Starsky & Hutch,” “The Love Boat” and “Star Trek: The Next Generation.” Her more substantial TV roles included a voice-acting part in the animated series “The Legend of Prince Valiant,” which ran for two seasons, and a stint as Charlotte Devane on the daytime drama “All My Children.”

The actor also lent her voice as Hera in Disney’s “Hercules,” then reprised the role in the animated classic’s spinoff video game and TV series.

Eggar was born March 5, 1939, in Hampstead, London. Her father was a British Army brigadier and her mother served as an ambulance driver during World War II. She studied art and fashion at the Thanet School of Art and pursed acting at the Webber Douglas Academy of Dramatic Art, according to a statement her daughter shared. Later in life, Eggar returned to the stage, performing “The Lonely Road” at the Old Vic and “The Seagull” at Oxford Playhouse and Theatre Royal, Bath.

She also brought her talents to radio, lending her voice to more than 40 productions for the California Artists Radio Theatre. Eggar was an animal enthusiast and supporter of several environment and health causes.

“Samantha Eggar will be remembered not only for her unforgettable performances but for her generosity, wit, and love of life,” the statement said.

Eggar is survived by her children Nicolas and Jenna, grandchildren Isabel, Charlie and Calla; and sisters Margaret Barron, Toni Maricic, and Vivien Thursby.



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Remembering Diane Keaton, plus the week’s best movies

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

When news broke last weekend that Diane Keaton had died at age 79, it came as an extraordinary shock because so much of Keaton’s screen presence and persona was rooted in a vitality, a sense of of being very much alive and open to everything.

Revisiting Keaton’s Oscar-winning performance in “Annie Hall” this week, I was struck by how much humor she mined from a hyperawareness of self, often commenting on her own dialogue and behavior as she was still in the act of doing it. She brought a tremendous charge to everything she did.

Jessica Gelt took on winnowing Keaton’s career down to just 10 films, including “Reds,” “Looking for Mr. Goodbar” and the first two parts of “The Godfather.”

Two people smile and walk on a beach together.

Diane Keaton and Jack Nicholson in the movie “Something’s Gotta Give.”

(Bob Marshak / Columbia Pictures)

In her appreciation of Keaton, Amy Nicholson called her “the icon who feels like a friend,” adding, “The contradiction of her career is that the things we in the audience loved about her — the breezy humor, the self-deprecating charm, the iconic threads — were Keaton’s attempts to mask her own insecurities. She struggled to love herself. Even after success, Keaton remained iffy about her looks, her talent and her achievements. In interviews, she openly admitted to feeling inadequate in her signature halting, circular stammers.”

There was a very genuine wave of emotion and affection after the news of Keaton’s death. One of the most heartfelt and moving tributes came from screenwriter and director Nancy Meyers, who worked with Keaton on four films, from “Baby Boom” to “Something’s Gotta Give.”

As Meyers said, “She made everything better. Every set up, every day, in every movie, I watched her give it her all.”

Meyers added, “She was fearless. She was like nobody ever. She was born to be a movie star. Her laugh could make your day and for me, knowing her and working with her changed my life.”

AMC Theaters have already announced limited showings of both “Annie Hall” and “Something’s Gotta Give.” Other screenings will certainly happen shortly.

Crispin Glover, still doing his own thing

A man in a suit holds a stopwatch.

Crispin Glover in “No! YOU’RE WRONG. or: Spooky Action at a Distance.”

(Volcanic Eruptions)

Still best known for the eccentric screen presence he brought to movies such as “River’s Edge,” “Wild at Heart,” “Charlie’s Angels,” “Back to the Future” and countless others, Crispin Glover is also extremely dedicated to his own filmmaking practice.

His latest project, the creatively punctuated “No! YOU’RE WRONG. or: Spooky Action at a Distance,” will have its West Coast premiere Saturday and Sunday at the American Cinematheque’s Aero Theatre, with Glover in person and a book signing. Tallulah H. Schwab’s “Mr. K,” a mystery starring Glover, will have its L.A. premiere at the Los Feliz 3 on Tuesday with the actor again appearing in person.

“No! YOU’RE WRONG” is the third feature Glover has made himself. He began developing the screenplay in 2007, started building the sets in 2010, began shooting in 2013 and didn’t commence editing until 2018. He goes at his own pace, though Glover is self-excoriating.

“None of this is acceptable,” he tells me during a recent video call from New York City following the film’s world premiere at the Museum of Modern Art. “I’m not happy that this has taken as long as it’s taken. Every step of this film just took ridiculously long.”

While Glover enjoys talking about the film, he struggles to explain what it’s actually about. Set across five time periods — 1868, 1888, 1918, 1948 and right now — Glover shot for the first time on 35mm and, for some scenes, used a hand-cranked camera that belonged to the Czech animator Karel Zeman. The negative was hand-processed, which can alter how it looks, with some sections then colored by hand to replicate early film techniques.

“It’s almost better for me to talk about the technical aspects because by talking about the the technical aspects, it sort of reveals things about the film itself,” Glover says. “All of my films on some level deal with surrealism in one aspect or another. And part of the way surrealism operates is to have either disparate pieces of information or withholding information so that the audience can make the correlations themselves and become a participant in the art.”

A man with a walrus mustache speaks to the lens.

Bruce Glover in the movie “No! YOU’RE WRONG. or: Spooky Action at a Distance,” directed by his son Crispin Glover.

(Volcanic Eruptions)

Aside from Glover himself, the film includes his father, character actor Bruce Glover, who died in March 2025, as well as his mother, dancer Betty Glover, who died in 2016. Following the death of his father, Glover had to make some changes.

“I don’t want to say too much,” says Glover as he catches himself starting to clarify an aspect of the story. “You’d have to see the film. It’s not good for me to talk about it because the way the film is made and layered, it’s something that people will have different interpretations of. And if I say too much, then it will sway the interpretation. They’ll think, ‘Oh, it’s wrong because the filmmaker said this,’ but it isn’t wrong. What they’re thinking is what’s right for them.”

Points of interest

Cronenberg movies at Brain Dead

Two women sit next to a reclining man in black.

Léa Seydoux, left, Viggo Mortensen and Kristen Stewart in the movie “Crimes of the Future.”

(Nikos Nikolopoulos)

Brain Dead Studios has been running a program of David Cronenberg films through October and still has a few titles left to go. And while his films may not fit everyone’s strict definition of Halloween-style spooky, they are reliably unsettling in their examinations of the darker aspects of human existence.

Friday will see a screening of 2022’s “Crimes of the Future,” starring Viggo Mortensen, Kristen Stewart and Léa Seydoux, Monday will be Cronenberg’s 1991’s adaptation of William S. Burroughs’ “Naked Lunch,” Thursday brings 1979’s low-budget horror film “The Brood” and Saturday, Oct. 25 will have 1996’s controversial “Crash.”

I spoke to Cronenberg around the release of “Crimes of the Future,” which at the time felt like something of a summation of the director’s ongoing interests in technology and the body, though he claimed it wasn’t intentional.

“It’s not a self-referential film because I’m not thinking that when I’m writing it or directing it,” Cronenberg said. “But the connections are there because my nervous system, such as it is including my brain, is the substrate of everything I’m doing. So I might even say in the Burroughsian way that all of my work and all of my life is one thing. In which case, it now makes perfect sense that there should be these connections.”

David Fincher’s ‘The Game’

A man peers into the mouth of a clown.

Michael Douglas in the movie “The Game.”

(Tony Friedkin / Polygram Films)

David Fincher’s 1997 thriller “The Game” is somewhat easy to overlook in his filmography, landing between the provocations of “Seven” and “Fight Club” and before fully-formed works like “Zodiac” and “The Social Network.” However, the movie, in which a wealthy man (Michael Douglas) finds his life turned upside in what may be a live-action role-playing game, is strange and unpredictable and among Fincher’s most purely pleasurable movies. It plays at the New Beverly on Friday — a rare chance to catch it in a theater on 35mm.

In his review of the film, Jack Matthews wrote, “Douglas is perfectly cast. Who else can blend moneyed arrogance, power and rank narcissism with enough romantic flair, intelligence and self-deflating humor to make you enjoy his defeats and his victories? What other major star is as much fun to watch when he’s cornered?”



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Yoshinobu Yamamoto’s complete game is Dodgers’ latest pitching flex

Technically, Roki Sasaki was available to pitch in relief for the Dodgers on Tuesday night.

Realistically, he wasn’t.

“I wouldn’t say unavailable,” manager Dave Roberts said before the game. “But it is unlikely that we will use him.”

Without the most electric arm in their unreliable bullpen, how could the Dodgers record the final outs required to win Game 2 of the National League Championship Series?

Here’s how: By making their bullpen a non-factor.

Yoshinobu Yamamoto tossed a complete game, becoming the first Japanese pitcher to do so in a postseason game. The offense spared Roberts another late-inning scare by tacking on insurance runs in the sixth, seventh and eighth innings.

The result was a 5-1 victory over the Milwaukee Brewers at American Family Field that extended the Dodgers’ lead in the NLCS to two games to none.

Two more wins and the Dodgers will advance to the World Series for the third time in six seasons. Two more wins and they will be positioned to become baseball’s first repeat champions in 25 years.

Ninety-three teams have taken a two-games-to-none lead in a best-of-seven postseason series. Seventy-nine of them have advanced.

In other words, this series is over.

If the Philadelphia Phillies couldn’t overturn a 2-0 deficit against the Dodgers, these overmatched tryhards in Milwaukee certainly won’t.

With the next three games at Dodger Stadium and Tyler Glasnow, Shohei Ohtani and Blake Snell scheduled to start those games, the most pressing question about this NLCS is whether it will return to baseball’s smallest market for Game 6.

Don’t count on it.

The Brewers’ bullpen was supposed to be superior to the Dodgers’, but that advantage has been negated by the Dodgers’ superior starting pitching.

Reaching this stage of October has forced the Brewers to exhaust their relievers, so much so that by the time closer Abner Uribe entered Game 2 in a sixth-inning emergency, he might as well have been Tanner Scott.

“We’re more depleted than the Dodgers are,” Brewers manager Pat Murphy said.

The workload made the Brewers’ bullpen as rickety as the Dodgers’, and that was with Sasaki just spectating.

What decided the game was that Murphy had to rely on his bullpen and Roberts didn’t.

Brewers starter Freddy Peralta pitched 5 ⅔ innings. A day after Snell faced the minimum number of batters over eight innings, Yamamoto registered every one of the 27 outs required to win a game.

Roberts said he didn’t hesitate to send back Yamamoto to the mound for the ninth inning. The night before, he called on Sasaki to close, and the decision to remove Snell nearly cost the Dodgers the game.

“Obviously,” Roberts said as diplomatically as he could, “there’s been things with the bullpen.”

Things now include Sasaki, whose ability to shoulder an October workload has come into question after he failed to complete the ninth inning in Game 1. In the game in question, Sasaki gave up a run and had to be replaced by Blake Treinen.

Sasaki’s form in Game 1 sounded alarm bells, and rightfully so. The converted starter still looked exhausted from his three-inning relief appearance against the Philadelphia Phillies in Game 4 of the NL Division Series. His fastball velocity has gradually declined over the postseason, and he’s not the type of pitcher who can be as effective throwing 96 mph as he is when he’s throwing 100 mph.

Sasaki has never pitched as a reliever in the United States or Japan. He spent 4 ½ months on the injured list this year with a shoulder impingement. Just as the Dodgers didn’t know what they could expect from him when they first deployed him out of the bullpen, they don’t know what they can expect from him now moving forward.

“It’s one of those things that we’re still in sort of uncharted territory with him,” Roberts said.

At various stages of the season, the Dodgers have asked themselves the same questions about their downtrodden bullpen: How could they survive when their firemen on their roster were also arsonists? How could they win a World Series with such an untrustworthy group of late-inning options?

In this NLCS, the Dodgers have shown how. They will use them as infrequently as possible.

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Here’s what the Dodgers will be charging for World Series tickets

Can you put a price on the experience of enjoying a World Series game at Dodger Stadium?

Yes, and it’s a very high one.

The Dodgers put tickets for potential World Series games on sale Tuesday, with the cheapest seat available for $881.95, according to an afternoon review of the team website. That seat — $800 for the ticket and $81.95 for fees — is located at the end of the reserve level, high above the field and next to the foul pole.

World Series prices posted on the website Tuesday ranged as high as $1,510.05. The best seats are sold as part of season packages, so that $1,510.05 seat ($1,371 ticket plus $139.05 fees) is located on the field level, near the foul pole and bullpen.

If the Dodgers advance to the World Series and play the Seattle Mariners, the Dodgers would play as many as four home games, starting Friday, Oct. 24. If the Dodgers advance and play the Toronto Blue Jays, the Dodgers would play as many as three home games, starting Monday, Oct. 27.

On Oct. 24, a family of four could get into Disneyland for a total of $796. On Oct. 27, a family of four could get into Disneyland for a total of $676.

Ticket prices are subject to change based on demand.

When the Dodgers put National League Championship Series tickets on sale, the cheapest price was $155. On Tuesday, the cheapest ticket on the team website for Game 3 on Thursday was $168.

However, since the game time has been set at 3 p.m. and weekday afternoon games are not popular, tickets on the resale market could be bought for about $100 Tuesday.

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‘Scariest ever’ horror series leaves fans ‘unable to sleep’ streaming for free

A horror series that has been described as the “most terrifying” TV show ever made is streaming for free, and fans are being warned to prepare for a chilling experience

One of the most spine-chilling horror series ever made, which viewers insist ‘just gets scarier’ after each episode, is now available to stream for free in the UK.

The Terror, adapted from the acclaimed sci-fi and horror author Dan Simmons’ book of the same name, depicts the ill-fated Franklin Expedition of 1845, which aimed to discover the Northwest Passage, the sea route between the Atlantic and Pacific oceans via the Arctic Ocean.

Simmons, also the author of the Hyperion Cantos, fictionalised the accounts of the expedition’s Captain Sir John Franklin as two British ships, HMS Erebus and HMS Terror, became trapped in Arctic ice, eventually vanishing without a trace and leaving no survivors.

Across 20 episodes, featuring Jared Harris, Tobias Menzies, and Ciaran Hinds amongst others, historical fact is woven with supernatural horror as the crew aboard the Terror succumb to starvation and cannibalism whilst grappling with the mysterious creature that haunts them.

The series, which was recently revived in 2025 following its first two seasons in 2018 and 2019, has received rave reviews on both IMDB and Rotten Tomatoes film and TV review platforms, scoring 7.8 stars out of 10 and an approval rating of 87%, respectively, reports the Express.

Evidence of its bone-chilling nature can be found on Reddit’s Horror subreddit, which boasts over 3 million members who post reviews and pose questions to the site’s leading horror entertainment community.

Horror enthusiasts can watch the programme without charge in the UK via ITVX’s streaming service, following account registration and enduring several advertisements.

Reddit user gtr011191 put forward a query to the online forum: “So just finished The Haunting of Hill House again, just looking for something else now to watch. What, in your opinion, is the most terrifying TV series?”.

Numerous Reddit contributors were swift to suggest The Terror, alongside other programmes, with user Hookums garnering more than 40 upvotes for their comment, “The Terror, season 1. F***ing horrifying. Episode one has some really chilling moments, and it just gets scarier from there.”

On IMDB, a verified critic named mohahaa13 awarded the programme nine out of 10 stars, cautioning audiences: “Going into the series with no expectations or impressions from the novel, and barely reading about the series at all before binge watching it, I was expecting a high-paced master and commander type of series.

“And, while it’s set in roughly the same time period, it’s unlike anything I was expecting. It’s quite suspenseful and chilling.

“Much thanks to the great acting, casting and details. The ambient soundtrack (R.I.P. Marcus Fjellstrom) is fantastic and really helps with the eerie feeling.

“There were some moments that made me feel really at unease. Right up there with the top series for sure. Well worth a watch.”

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India vs West Indies: Shubman Gill leads hosts to series win

India wasted little time in completing a clean sweep over West Indies to give Shubman Gill his first Test series win as captain.

Opener KL Rahul hit an unbeaten half-century as India sealed a seven-wicket win on the fifth morning in Delhi.

It keeps the hosts third in the early stages of the World Test Championship (WTC) standings,, external behind Australia and Sri Lanka.

The win was set up by centuries in the first innings by Yashasvi Jaiswal (175) and Gill (129*).

West Indies were bundled out for 248 in reply but did manage to fight back and make India bat again with a better second-innings showing.

John Campbell and Shai Hope hit dogged centuries, taking the tourists to 271-3 before Hope was bowled by Mohammed Siraj and the middle order collapsed.

Six wickets fell for 40 runs, before some late hitting by number 11 Jayden Seales added enough runs to give India a chase of sorts.

However, the hosts were always going to win once Rahul and Sai Sudharsan, who added 39 to his first-innings 87, put on 79 for the second wicket.

India’s next assignment is a white-ball tour of Australia, which will be broadcast ball by ball on BBC Radio 5 Sports Extra, before they welcome South Africa for a two-Test series.

West Indies begin a tour of New Zealand on 5 November. They are sixth in the WTC standings, with New Zealand, Pakistan and South Africa only below them because they are yet to complete a Test in this latest cycle.

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