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“It felt like a movie” — that’s what we all said in the days and weeks after Sept. 11, 2001, when a Michael Bay action film slammed uncomfortably into real life. But with the perspective of 25 years, what’s lingered for the most part aren’t the most literal depictions of the day, but oblique dramas that capture something more subtle: the free-floating anxiety of a nightmare. In our list, you’ll find titles that confront Sept. 11 directly, but others that bring to mind a deeper, broader canon of trauma.

‘Donnie Darko’ (2001)

Jake Gyllenhaal in the 2001 movie “Donnie Darko.”

(NewMarket Films)

Going to the movies in the fall of 2001 was a solace and escape for many New Yorkers, though the films themselves often had an eerie, unplanned timeliness that made them resonate in an unshakable way. You could ache for the cozy city of the past in “The Royal Tenenbaums” or grapple with the schism of everything suddenly feeling different in “Mulholland Drive.” Or you could envelop yourself in Richard Kelly’s moody “Donnie Darko,” a teen drama touched by metaphysical doominess in which plane engines fall from the sky and death wears a rabbit costume. The movie has since become an unexplainable piece of comfort for a spooked generation. In its weather, its soundtrack and the haunted stare of Jake Gyllenhaal, it evokes the weeks after 9/11, even if it anticipated them. — Joshua Rothkopf

‘25th Hour’ (2002)

Edward Norton in the movie “25th Hour.”

(David Lee / Touchstone Pictures)

Only months after the attacks, Spike Lee took on 9/11 with a boldness that only 15 years of provocative filmmaking — and a lifetime of loving New York — could sharpen into an artist. This interpersonal drama, about the fallout of a drug dealer (Edward Norton) going to prison, was deep in development when real-life events altered its trajectory. Lee insisted on including the American flags dotting lawns, the general sense of unease and, in a somber touch, a credits sequence featuring the Tribute in Light. Overwhelmingly, one scene takes place in a Tribeca hi-rise with a view of ground zero, and even though the conversation itself concerns a friend in trouble, it quickly shifts onto metaphorical grounds of guilt, responsibility and rage. There still may not be a better 9/11 film than this one. — J. Rothkopf

‘Munich’ (2005)

A scene from the movie “Munich.”

(Karen Ballard / Universal Pictures)

On the surface, Steven Spielberg’s “War of the Worlds,” released earlier in 2005, may seem like his more obviously 9/11-coded film (“Is it the terrorists?” Dakota Fanning’s character asks). But “Munich,” which followed six months later, goes straight to the questions of terrorism and endless cycles of retaliation that hung over the period. Eric Bana plays Avner, a Mossad operative sent to hunt down the Palestinians whom Israel holds responsible for the 1972 Munich Olympics massacre. As the revenge killings mount, the mission begins to eat away at him — and Avner’s belief in closure is shaken. Spielberg makes the contemporary connections hard to ignore. In a final scene, set in mid-’70s New York, after Avner and his handler Ephraim, played by Geoffrey Rush, argue over what they have done, the camera pans across the Manhattan skyline southward, toward the Twin Towers, which Spielberg had digitally added to the shot. — Josh Rottenberg

‘United 93’ (2006)

A scene from the movie “United 93.”

(Jonathan Olley / Universal Pictures)

Five years after 9/11, it still wasn’t clear whether audiences were ready for a Hollywood movie that directly re-created the attacks. Director Paul Greengrass, then most recently of “The Bourne Supremacy,” took on the hijacked flight whose passengers fought back before it crashed in Pennsylvania. He used a largely unknown cast and shot with an almost documentary immediacy, cutting between the plane and air-traffic controllers trying to make sense of what was happening. There’s no movie star to take charge, and Greengrass doesn’t inflate the passengers into larger-than-life heroes. We simply watch as they piece together the situation from phone calls and scraps of information and realize what they have to do. We know from the beginning that none of them will survive. Watching them slowly come to that realization is what makes “United 93” so devastating. — J. Rottenberg

‘The Dark Knight’ (2008)

Christian Bale in the movie “The Dark Knight.”

(Warner Bros. Pictures)

It was probably inevitable that the anxieties of the post-9/11 era would find their way into a Batman movie. In “The Dark Knight,” Christopher Nolan fills Gotham with bombings, acts of mass surveillance and questions about how far is too far. Heath Ledger’s Joker is an enemy who doesn’t play by the rules, attacking the city with no clear political goal beyond creating panic and chaos. Christian Bale’s Batman, meanwhile, builds a Patriot Act-like system that turns every cellphone in Gotham into a tracking device and uses increasingly brutal methods to stop him. Nolan folds all of that into a hugely entertaining superhero movie without turning it into a lecture. — J. Rottenberg

‘Man on Wire’ (2008)

Philippe Petit, as seen in the documentary “Man on Wire.”

(Jean-Louis Blondeau / Polaris)

By the time James Marsh’s Oscar-winning documentary arrived in 2008, the Twin Towers had been gone for seven years. The film recounts French high-wire artist Philippe Petit’s astonishing 1974 stunt, in which he and a small band of co-conspirators secretly rigged a cable between the towers, allowing Petit to walk high above lower Manhattan. The movie never needs to mention 9/11 to feel devastating. We already know what became of those buildings. Watching Petit step onto the wire lets us see them differently, not as the site of catastrophe but as the setting for something beautiful and absurdly daring. A ghostly montage of the Twin Towers being constructed, set to composer Michael Nyman’s “Fish Beach,” brought New Yorkers to tears. For me, that feeling is also personal. I was living in New York on 9/11 and had been at an outdoor concert in the plaza beneath the towers just weeks before the attacks, so there was something especially moving about seeing them again as part of the city’s everyday life. — J. Rottenberg

‘The Hurt Locker’ (2009)

Anthony Mackie, left, and Jeremy Renner in the movie “The Hurt Locker.”

(Jonathan Olley / Summit Entertainment)

Has there ever been a better cinematic metaphor for the War on Terror than Jeremy Renner in a bomb suit, kneeling over a device in a Baghdad street while everyone around him scans the rooftops for danger? Kathryn Bigelow’s film narrows the Iraq War down to the nerve-shredding work of an explosives-disposal unit, with Renner’s Staff Sgt. William James almost eerily comfortable in situations that terrify everyone around him. The suspense often comes down to the simplest question: Is this thing going to blow up? Bigelow, the action expert behind “Point Break” and “Strange Days,” mostly leaves the larger politics offscreen and stays with the men doing the dangerous work, their detachment a survival tactic. Though initially little-seen, “The Hurt Locker” pulled off its own improbable feat, becoming, at the time, the lowest-grossing movie to ever win Oscar’s best picture — while Bigelow became the first woman ever to win best director. — J. Rottenberg

‘Margaret’ (2011)

Anna Paquin and Matt Damon in the movie “Margaret.”

(Myles Aronowitz / 20th Century Fox)

Kenneth Lonergan shot this seething, richly authentic New York City drama in 2005, when the rawness of post-9/11 NYC was already a part of everyday life. But the trauma feels ingrained in every frame, and there are shots of wary street life — an occasional flinch or look upward — that New Yorkers could watch and think: Yes, that’s what it felt like. The plot itself concerns a teenage girl, Lisa (Anna Paquin, never better), whose hyperdramatic tendencies are both recognizable and lovable. She is involved in a bus accident that results in a fatality and, with the crusading passion that so many people felt after 9/11, decides to get involved as a witness and truth-teller. The need to fix things — amid so much that was unfixable — is a marker of all the movies on this list. — J. Rothkopf

‘Zero Dark Thirty’ (2012)

Jessica Chastain, center, in the movie “Zero Dark Thirty.”

(Jonathan Olley / Columbia Pictures)

Perhaps the most explicit film on our list, Kathryn Bigelow’s daring military procedural about the 2011 midnight raid that took out Osama bin Laden was a political hot potato in its moment. Now with distance, it impresses as a skilled piece of political moviemaking, one that captures the era’s sense of moral compromise and queasy vengeance. It contains scenes of torture and goes deeply into the CIA’s planning and execution of the operation — choices that remain provocative. But the movie’s most lingering piece of drama is a silent shot of one woman crying in a cargo plane: a high-level analyst played by Jessica Chastain, who has accomplished the unthinkable but doesn’t feel relief. The fight will not end. Only a filmmaker who had just won Oscars and made history would have been granted the artistic freedom to make this movie, arguably Bigelow’s finest. — J. Rothkopf

AMMAN: Jordan’s army said Wednesday it shot down 18 missiles from Iran targeting the US-allied kingdom.

“Jordan’s air defense systems engaged 20 ballistic missiles launched toward Jordanian territory, successfully intercepting and destroying 18 of them, while two missiles fell in unpopulated areas,” the army said in a statement, adding that they came from Iran.

Funerals have taken place for two Palestinian teenagers who were shot dead this week when settlers and soldiers entered a Palestinian village in the occupied West Bank.

The killing of Omar al-Naasan and Khalil Abu Alia comes amid near-daily attacks by Jewish settlers in the village of al-Mughayyir, south of Nablus.

“We expect that when our sons walk in the street, they are likely to return to you injured or killed,” Mohammed Al-Naasan, Omar’s father, told the BBC.

Israel’s military says it fired on “instigators of a violent riot” and that the incident is under review.

The United Nations says more than 80 Palestinians have been killed by Israeli forces or settlers in the territory since the beginning of the year.

Aug. 30 (UPI) — Two people were killed and eight others were wounded in a shooting that erupted early Sunday during what officials have called “a large unauthorized adult gathering” in the New Jersey capital of Trenton.

No arrests appeared to have been made as of late Sunday.

The Mercer County Prosecutor’s Office said in a statement that police responded to the 100 block of Locust Street at about 12:33 a.m. EDT following reports of multiple shots fired, arriving on the scene to find 10 people struck by gunfire. Officials initially reported 11 people shot.

Little information about the cause of the shooting has been made public, but the prosecutor’s office said it occurred as an estimated 100 people were on the street. Trenton Mayor W. Reed Gusciora said it was a gathering of 200 people or more.

The prosecutor’s office identified the two dead victims as a 33-year-old woman and a 42-year-old man.

The eight other gunshot victims, identified as two women and six men ranging in age from, 23 to 43, were treated for their injuries at Capital Health Regional Medical Center and have been stabilized, according to the prosecutor’s office.

The identities of the deceased were being withheld, but Gusciora said the man “had been working to turn his life around after returning home from incarceration and had recently been recognized for his commitment to re-entry and positive change.”

“My heart goes out to the families of the two people whose lives were taken, to everyone who was wounded and to the residents of the Wilbur Section who awoke this morning to another painful reminder of the consequences of gun violence,” Gusciora said in a statement.

“One of the things that makes an incident like this particularly painful is that people’s lives are often far more complicated than a police report can capture.”

More than 50 spent shell casings were located at the scene, authorities said, adding that multiple cars were struck by gunfire.

Authorities and officials said someone in attendance must have seen what occurred and called on those with information about the shooting to come forward.

“Protecting someone responsible for taking a life only puts another neighborhood at risk,” the mayor said.

The shooting is being investigated by the Mercer County Homicide Task Force and the Trenton Police Department.

City officials will be seeking to crack down on large, unauthorized gatherings and are examining strategies used by other cities to prevent further incidents from occurring. Police will immediately engage community partners in the Wilbur Section of the city and talk to residents to “prevent retaliation or additional violence,” the mayor said, adding that a gathering of the size seen overnight creates serious safety concerns for those in attendance as well as residents of the surrounding area.

“This is not about criminalizing people for gathering together. It is about recognizing the difference between a gathering and hundreds of people occupying a residential street without authorization, particularly when firearms and violence become part of that environment,” Gusciora said.

New Jersey Gov. Mikie Sherrill said she’s been briefed on the shooting.

“My attorney general remains in close contact with officials on the ground,” she said in an online statement.

“I’m thinking of the families who lost loved ones, those who were injured and the Trenton community.”

According to The Gun Violence Archive, there have been at least 317 mass shootings involving four or more victims so far this year.

Aug. 26 (UPI) — OpenAI released a final report Wednesday on a July incident in which its artificial intelligence agents hacked into another company’s systems, saying it considers the episode “a warning shot” for the company and the world.

The incident is “evidence that, without proper safeguards, highly capable AI agents are now able to work around technical controls, collaborate through unapproved channels and take dangerous actions that no human directed,” the report said.

The episode in question happened when some of the company’s AI bots hacked into the systems of Hugging Face, a company working with OpenAI. The bots did this of their own accord to get data they decided they needed to solve a problem during model testing, despite restrictions meant to keep them from the internet.

“With the benefit of hindsight, some early signals identified in this report could have triggered an earlier response,” the report said.

The company shared some new details in the report, including how the AI agents left messages for each other hidden in software infrastructure and coordinated to hack the other company, Wired reported.

Two independent research groups, METR and Redwood Research, also released an independent report on the incident Wednesday. These groups found that more than 700 AI agents were part of the breach.

Buck Shlegeris, CEO of Redwood Research, said in an interview with Wired that preventing the incident “wouldn’t have been that hard” if someone had decided to make sure of it.

“The issue is just that OpenAI is doing a lot of things at once, and it’s very hard for them to track all of the things that are going on and all the problems that could be occurring,” Shlegeris said. “The company has already said they’re changing their monitoring process in ways that probably would have caught this.”

The Washington Post noted in a story on the OpenAI report that the company acknowledged in the report that its AI agents repeatedly cheat to find shortcuts to accomplish tasks during training.

“Agents attempting to cheat on their tasks by looking up solutions online was a primary driver of the Hugging Face incident,” the OpenAI report said.

KIM Cattrall has stunned in a very sexy shot for her milestone 70th birthday.

The Sex and the City legend took to Instagram to share a risque snap of herself to commemorate her big day.

In the black and white photo, Kim was seen wearing a white bath robe, which nearly slipped off her bare shoulder.

She sat beside a bathroom sink as she crossed her leg and smiled for the camera in the sexy shot.

The actress proved that age is just a number as she showed off her toned legs as she seduced the camera.

Kim captioned the post: “My heart is full!! Thank you for all the sweet birthday wishes!”

Her loyal fans flocked to the comments section to wish her well on her special day.

One person gushed: “70 has never looked so good. I hope you had a beautiful one Kim. Our forever Samantha Jones.”

Another follower enthused: “Happy birthday to THE icon.”

Somebody else commented: “Happy birthday to one of our greatest inspirations.”

Yet another said: “Happy Birthday to the best of the best. Beauty, Brilliance, Talent, Humour, Empathy #icon.”

While a fifth fan added: “Happy birthday queen. 70 and fabulous.”

Kim got married to her toyboy boyfriend Russell Thomas, 54, in London in December last year.

The ceremony took place at Chelsea Old Town Hall with only 12 guests in attendance.

She wore a stylish suit by Dior for the nuptials, which were described as “quiet” and “understated”.

The couple met almost 10 years ago in 2016 when Kim appeared on an episode of Woman’s Hour to talk about insomnia and Russell was working as a sound engineer.

This is Kim’s fourth marriage, having first tied the knot in 1977 to Larry Davis, but the union was annulled after two years.

Her second marriage was from 1982 to 1989 to Andre J. Lyson, with the couple residing in Frankfurt, Germany.

Then in 1998, she tied the knot for the third time with Mark Levinson, but that ended in divorce in 2004.

Rae Burrell scored 20 points and the Sparks ended a six-game losing streak with a 77-68 win over the Connecticut Sun on Saturday night.

Nneka Ogwumike, who announced Wednesday she will retire at the end of the season, had 11 points and 11 rebounds for the Sparks (13-24), her 131st career double-double. Erica Wheeler also had 11 points and Dearica Hamby had 10.

Saniya Rivers scored 14 points off the bench to lead the Sun (9-27), who were without Brittney Griner (knee) and Aaliyah Edwards (ankle). Leila Lacan added 13 points and Kennedy Burke 10.

The Sparks, which has given up an average of 93.6 points a game, held the league’s worst offense to 11 points below its average after surrendering 124 points to Atlanta on Thursday. The Sparks did that despite giving up 30 points on 25 turnovers.

A three-pointer from Wheeler at 6:12 of the fourth quarter produced a 77-55 lead but the Sun reeled off 13 straight for a single-digit deficit with less than two minutes to go but missed their last five shots.

The Sparks led 44-36 at halftime.

Connecticut hit four of 16 shots while the Sparks rebounded to make nine of 12 shots in the third quarter to boost their lead to 66-46.

Hamby was ejected early in the fourth quarter when she flung her right hand back while boxing out Raegan Beers, smacking her in the jaw. No foul was called as Beers went down, but as she went to the locker room the play was reviewed. Beers was given a loose ball foul while Hamby received a flagrant 2 foul for unnecessary and excessive contact.

Up next for the Sparks: Game three in a four-game home stand Monday against Atlanta.

Denis Bouanga scored late in the second half and LAFC escaped with a 1-1 draw after trailing the Portland Timbers for 75 minutes at BMO Stadium on Saturday night.

David Da Costa took a pass from Kristoffer Velde in the fourth minute and scored his third goal this season to give Portland a 1-0 lead that it carried into the 79th minute.

That’s when Bouanga used assists from Jude Terry and Aaron Long to knot the score with his 11th goal of the season.

Portland forward Vincent Janssen, who entered in the 69th minute, picked up yellow cards in the 89th and third minute of stoppage time to leave the Timbers down a man.

But, James Pantemis finished off a 10-save night for Portland (8-9-4) — including his final one on a shot by Bouanga in the final minute of stoppage time — to keep it tied.

Pantemis had five saves in the first half with four of them coming in the first 22 minutes.

Hugo Lloris turned away one shot for LAFC (10-7-5), which was coming off back-to-back 1-0 losses.

Portland is 4-1-2 in its last seven matches.

The Timbers beat LAFC on their last trip to BMO Stadium and lead the all-time series 7-6-8.

Up next for LAFC: at D.C. United on Saturday.

Two-time world champion Zolani Tete has been shot dead outside his home in South Africa.

The 38‑year‑old was killed in what has been described as an ambush in Mdantsane, Eastern Cape on Friday.

Officials said Tete was in his car waiting for the gate to his house to open when two armed suspects in balaclavas emerged from a vehicle and fired “multiple shots” at him and a 27‑year‑old female passenger, who remains in hospital.

South Africa’s minister of sport, arts and culture, Gayton McKenzie, said: “South Africa has lost one of the finest fighters it has ever produced.”

The two suspects fled the scene and a major investigation has been launched, McKenzie added.

Tete held the WBO bantamweight title from 2017 to 2019, as well as the IBF super-flyweight title in 2014.

Tete beat Liverpool’s Paul Butler in 2015 in one of the eight times he fought in the United Kingdom.

He also holds a Guinness World Record for the fastest knockout in a title fight, ending his match with Siboniso Gonya inside 11 seconds in 2017.

Tete last fought in July 2022, beating Briton Jason Cunningham by knockout In London, but it was later ruled a no-contest after he failed a drugs test.

He tested positive for anabolic steroid stanozolol and was given a four-year ban by the UK Anti-Doping Agency.

His ban ended on 29 July, 2026 and after his death, manager Mla Tengimfene confirmed he had been training for a comeback fight.

Tete had 29 wins in 34 fights, with four losses and one no-contest.

“Other than the needle drops, this is probably my favorite part about making ‘Beef,’” says creator Lee Sung Jin of the show’s episodic title cards, which in Season 2 marry historical paintings with abridged quotations from authors and poets. For the finale, which sees its two feuding couples (Carey Mulligan, Oscar Isaac, Cailee Spaeny and Charles Melton) swept up in a seemingly inescapable fight for survival, the paintings of Giuseppe Arcimboldo’s “The Four Seasons” matched with the title “It Will Stay This Way And You Will Obey,” a reference to a passage in Marion Woodman’s “Coming Home to Myself: Reflections for Nurturing a Woman’s Body & Soul.” “It’s almost prisonlike because these very prominent faces of literally nature have created this wall that the title is stuck in. We wanted to express the cycles and how the four seasons come for you no matter what,” Lee says, alluding to the season’s central idea that people often repeat the same destructive habits. “The final shot is homage to the Buddhist concept of samsara. It was important for us to allow the audience to take a moment after all the craziness of the season to think about their own lives, think about society at large … and depending on where you are, come to your own conclusion.”