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“Wonder Man” star Yahya Abdul-Mateen II has addressed the recent discussions regarding Marvel’s track record on projects led by Black actors after the abrupt cancellation of his show.

“I think the optics are obvious,” the Emmy award-winning actor told Vanity Fair in an interview published Thursday. “If I’m a big business, if I’m Disney, if I’m Marvel, I don’t want to be attached to these optics. So it should be a priority to change that narrative and to do what it takes to responsibly change that narrative with quality stories, with quality resources.”

In “Wonder Man,” Abdul-Mateen portrayed Simon Williams, a struggling actor with superpowers that he had to keep secret so he could work in Hollywood. The grounded series — more a love letter to Hollywood than superhero spectacle — was well-received by critics and fans. But just weeks after Abdul-Mateen was nominated for an Emmy for his work on the show, “Wonder Man” was canceled despite the announcement that the series had been picked up for a second season back in March.

Abdul-Mateen was told that the decision “had something to do with the viewership numbers.”

“I wasn’t told what those numbers were, but ultimately, for whatever reason it was, I think they decided that it didn’t make sense for business, and that’s the decision that we live with and we keep on marching forward,” the actor said to Vanity Fair.

Marvel’s abrupt reversal on “Wonder Man” invited scrutiny from fans who had also noted how “Blade” had been stuck in development for years. The film, which had been announced in 2019, was set to star Mahershala Ali as the titular human-vampire hybrid.

“If they wanted to do it, we would’ve done it,” Ali said to GQ in a recent interview, confirming he had “moved on” from the project. (Marvel Studios president Kevin Feige said during a recent podcast appearance that he felt like “a gigantic loser and failure” for not getting “Blade” made.)

Fans have also pointed to other Black characters whose storylines have been sidelined or left unresolved over the years, such as Ironheart and Monica Rambeau.

There is one Black-led project for which Marvel has ambitions plans, though.

Marvel recently stoked excitement for the “Black Panther” franchise at San Diego Comic-Con with the announcement that David Jonsson has been cast as T’Challa’s son and the new King of Wakanda. “Black Panther 3,” from filmmaker Ryan Cooger, will be released on Dec. 15, 2028.

Despite his disappointment, Abdul-Mateen said in his Vanity Fair interview that he understands “business and life move on.” But he also believes there are things Marvel and the industry can learn from “Wonder Man.”

“I felt that our show did have quality story, did have quality resources, did have quality actors and people, and did produce quality results that the viewers responded to positively, that the [Emmy] voters responded to positively,” he said. “So our show does deserve some study and some real, hard information about why a show like this did not continue forward, because it had all of the ingredients that one would want in a show.”

ORE Oduba has been served a fresh blow as he was forced to slash the ticket prices for his new show with Joanne Clifton.

Broadcaster Ore – who has been open about his financial troubles over recent months – met pro dancer Joanne back in 2016 after they were paired together on series 14 of Strictly Come Dancing.

They have remained good pals over the years and recently decided to go on tour.

The Joanne and Ore – Champions Reignited tour will see the pair sing, dance and tell stories.

But, it seems fans aren’t too keen as they’ve been left with no choice but to flog remaining tickets for 75% less than the original price.

Ore, 40, and Joanne’s tour was spotted on discount website Show Film First, which is used to sell-off tickets at a cheaper price.

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Event organisers and theatre producers strive to have all seats to be filled for shows, so when venues aren’t selling-out they often allocate unsold tickets to seat-filling agencies like Show Film First.

Tickets to their show have been slashed from £59 to just £15.

Before discounts, the lowest-priced tickets at their original price were £25 for students with a valid ID.

The advert on the site flogging tickets to Ore and Joanne’s upcoming show on Sunday has, at the time of writing been taken down.

They are set to take to the stage in Newcastle at the Tyne Theatre & Opera House.

On the venue’s website, fans can still get 2-for-1 tickets to the performance, which is just hours away.

This isn’t the first blow Strictly star Ore has suffered over the past few years as he announced he and Portia, 36, had ended their nine year marriage in October 2024.

Following their sad split Ore and Portia the put their family home on the market, which left their kids devastated.

The pair share a son, Roman, eight and four-year-old daughter Genie together.

Portia said on social media: “I told the children that we are selling the house.

“It’s hard, especially for Roman, to have these conversations. He’s really upset.”

Last November, Ore opened up on his porn addiction battle while speaking on the We Need to Talk podcast with Paul C Brunson.

He candidly said: “I was nine when I was introduced to pornography. That’s when my addiction started.”

Ore added: “While I wouldn’t say the addiction set in immediately, the intrigue started immediately and it didn’t take long for that intrigue to start running my mind over.

“It was the thing that was destroying my life from the inside out.

“But it was a thing I was running to from an early age as a response to the trauma.”

“Shame kept me silent for 30 years. It took me 30 years, two deaths, and a divorce to finally go: here’s what’s happening,” said Ore.

“The reason I felt like I needed to speak out on this, is because I wanted to guide my own children when it comes to it, when it comes to them seeing stuff that is going to be there.

“They’re going to come across it.”

Ore also admitted that he’d been struggling financially and his son was forced to leave his private school mid-term as a result.

The London-based TV and radio anchor shot to fame after fronting coverage for BBC Breakfast, Radio 5 Live, and major events like the 2014 Commonwealth Games and 2016 Rio Olympics.

For years, the day in Kulak ended when the generator powered down. Like thousands of villages across Iraq, this small farming community in the semi-autonomous Kurdistan region lived to the faltering rhythm of an erratic power supply: a few hours of electricity, then the water pumps stopped, refrigerators warmed and children put down their books.

Today, Kulak runs on the sun. Solar panels harness its energy, batteries store the excess and residents have power 24/7. The change is visible beyond the homes: water pumps keep running, and cold storage gives farmers more control over when they sell their harvest.

This is the part of the energy transition the global climate conversation too often overlooks. Solar hardware is cheap; the world has learned how to install it. What matters is what comes after the panels go up: building the local capacity to keep the systems running and using reliable power to support farms, livelihoods and communities.

The energy transition will not be won in conference halls. It will be won, or lost, in places like Kulak.

Iraq’s rural energy crisis

Iraq’s energy story is usually told as a paradox. It is one of the world’s great oil producers, yet rural communities still endure daily power cuts. Summers now regularly push past 50 degrees, and the United Nations ranks Iraq among the nations most vulnerable to climate change. Drought has emptied farmland. Heat has made whole regions harder to live in. Rural families face a quiet, grinding choice between staying on land that can no longer sustain them or joining the drift towards overcrowded cities.

These pressures do not respect provincial boundaries. They are shared across Iraq, from the marshes of the south to the mountains of the north. They demand responses that work for the whole country.

For remote communities, decentralised power should not simply be treated as a stopgap while they wait for the grid. It can be part of the long-term answer.

Beyond electrification

Kulak is one of five villages in the Kurdistan region electrified through a solar initiative that pairs new infrastructure with local training and agricultural development. Residents are trained to operate and maintain their own systems, while research is under way into how reliable power can support local production.

Energy is treated not as a gift to be received but as an asset to be managed. That means looking beyond electricity itself to what it can enable: cold storage that allows farmers to hold their harvest for better prices, irrigation that no longer depends on diesel and processing that adds value before crops ever leave the village.

That distinction matters, because the graveyard of development is full of well-intentioned infrastructure. Anyone who has worked in this field has seen the solar array gathering dust because no one was trained to fix an inverter, or the water project abandoned when the foreign NGO moved on.

Sustainability is not a slogan; it is a design choice. Building local capability into a project from day one is the difference between a photo opportunity and a future.

Building the transition from the ground up

There is a broader argument here for the climate movement.

The energy transition is overwhelmingly narrated from the top down: through COP plenaries, G7 communiques and the financing pledges of wealthy nations, many of them unmet. Yet for hundreds of millions of people in the Global South, the transition will arrive, if it arrives at all, through decentralised solutions built close to the ground.

Rural Iraq will not wait decades for grid expansion to reach every valley. It does not have to. Distributed solar suits these communities better than centralised generation ever did, while local institutions can move at a speed that multilateral programmes rarely match.

There is also a quieter point about who gets to act on climate.

The prevailing image of climate action in the Middle East is the megaproject: vast desert solar farms, futuristic cities and sovereign wealth funds. Those have their place. But electrifying farming villages one by one represents a different kind of ambition, one rooted in the belief that Iraqis themselves, in all their diversity, can build the country’s energy future rather than wait for it to be delivered.

Local involvement matters particularly in places where reliable electricity is tied not only to household comfort but to whether farms can irrigate crops, preserve produce and remain economically viable.

Iraq has thousands of rural communities, and scaling this model will require partners, patient financing and supportive policy at every level of government. The agricultural research is promising but young.

On my last visit to Kulak, I was struck less by the panels than by what surrounded them: the cold store, the working pumps, the sense of a community planning for next season rather than next month.

The lights staying on is the least of it. What has really been switched on is the future tense.

If Iraq’s energy transformation is built like this across the whole country, village by village and from the ground up, it will be more durable than anything imposed from above. That means investing not only in the systems themselves, but in the people who will maintain them and the farms, businesses and livelihoods that reliable power can support.

The world’s climate diplomats could do worse than pay attention.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

Out on a wooden platform extending over San Diego’s Mission Bay, young women sway from side to side, riding an imaginary wave to the beats. Steps away, a man does the “Crank Dat” dance as a young child bounces on his shoulders in gleeful entrancement. Vendors weave through the packed crowd hawking cans of beer, hard seltzer and jalapeño-tequila and cherry vodka Jell-O shots, served in plastic syringes.

“Take a sip of water now,” Soulja Boy tells the crowd after performing his booty-shaking anthem “Donk.” He still has an hour to go.

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Much of the audience looks like clones of the star rapper, dressed in extremely oversized white tees, baggy denim, thick gold chains, tilted snapbacks and white-framed sunglasses with words written across the lenses. As the sun dips below the horizon, a fleet of onlookers on jet skis and boats idle on the water to catch a peek of the vivacious scene.

The concert has all of the energy of a 2000s MTV “Spring Break” or BET Spring Bling special. Except here, parents can bring their kids along for the festivities and check out a penguin exhibit or ride a roller coaster all in the same night.

“Usually I just come here for the rides and watching animals, but the concert is time for the parents to have fun,” says Ricky Roman of San Diego.

It’s all part of SeaWorld San Diego’s Summer Spectacular, an annual concert series that just wrapped up at the park’s Bayside Amphitheater. The lineup was packed with beloved hip-hop and R&B throwback artists like Too $hort, Ginuwine, Ashanti, Warren G and E-40. What began as a way to reintroduce locals and entice newcomers to the 62-year-old marine park, which is known for its shows and programming focusing on aquatic life, has turned into a multigenerational phenomenon and one of the season’s most anticipated events.

Paul Wall co-headlined a July concert with Soulja Boy at SeaWorld San Diego’s summer concert series.

“The people watching is crazy,” says Bootleg Kev, a hip-hop radio personality who hosted the recent Soulja Boy concert, which was co-headlined by Houston rapper Paul Wall.

He describes the vibe of the event. “It’s in the middle of the water, Shamu is like feet away. There’s a lot of parents in here getting twisted. There’s hella babies.” (It should be noted that Summer Spectacular does not feature killer whales or any live animals.)

Though SeaWorld has hosted the event since 2019, it’s taken years to find the right formula and the concert series has only recently taken off.

“There were certain acts that just filled the house and certain ones that didn’t,” says the park’s president, Tyler Carter, adding that early performances swung drastically from hip-hop to Christian rock entertainers. But after hosting a successful show with rappers and teen sensations Bow Wow and Soulja Boy (who’ve performed at SeaWorld multiple times), Carter and his team wondered, “How do we lean into the nostalgia that Southern California millennials love?” he says. The answer was hip-hop, R&B and pop acts from the late 1990s and early aughts.

Their hypothesis was confirmed when footage of a Ying Yang Twins performance went viral in 2025. Executives had found an unexpected pairing that works: Inviting people to the theme park — a place many associate with childhood and simpler times — to experience the music they grew up listening to.

SeaWorld has faced a number of challenges since the 2010s, many stemming from the intense public criticism over its captive orca breeding program, which the company ended in 2016. SeaWorld’s parent company, United Parks & Resorts, has reported a general decline in attendance, revenue and earnings across its parks, most recently in the 2025 fiscal year. Park officials say the concert series, which also takes place at SeaWorld’s Orlando and San Antonio locations, has helped boost ticket sales and brand awareness.

What helps make the event effective is its lower barrier of entry. While tickets to throwback concerts or festivals can easily cost upward of $100 a ticket, SeaWorld’s shows are included with a regular park ticket (starts at $99.99) or an annual pass. Seating is first come, first served, but guests can purchase a reserved spot to guarantee a prime spot. Given that the shows happen every week throughout the summer, many annual pass holders attend each one.

“It’s lowkey a free concert,” says pass holder Juanita Jones, a San Diego resident who was wearing a custom graphic tee with her and Soulja Boy’s faces imprinted on it. She and her friends get a personalized shirt made for every show.

Although SeaWorld has been hosting the summer shows since 2019, they have only recently taken off.

Ricky Roman grew up going to SeaWorld and now takes his two children to the park on a weekly basis. But on this day, which was also his 29th birthday, he decided to leave his kids at home.

“Usually I just come here for the rides and watching animals, but the concert is time for the parents to have fun,” he says.

Jackson flew in from Washington, D.C., with a group of college friends to celebrate a 40th birthday at the show, after seeing several unfiltered videos from the past shows — most notably a clip of a mother twerking on a bleacher seat with a baby strapped to her chest in a carrier during a Ying Yang Twins performance in June.

SeaWorld executives encourage attendees to come early or stay after the concert to check out the many animal exhibits at the marine park.

“We’re millennials and we’ve been seeing this on TikTok. We were like, ‘It’s starting to look like it’s getting out of hand. Let’s go before this gets out of control,’” she says, laughing.

While some people go solely for the concerts, others come early or stay late to explore the park, which stays open roughly two to three hours after the show. Even the headliners check out the marine life, Carter says.

“When the Ying Yang Twins were here, I was riding rollercoasters with them,” he says. “I ended up taking Baby Bash’s kids around during sound check and we rode Shipwreck Rapids three times in a row and were soaking wet, having a blast.”

While the concerts have been mostly welcomed by locals, outside protests still occasionally find their way to the amphitheater. During Ashanti’s July performance, PETA activists sailed a 49-foot yacht displaying a “SeaWorld Kills” banner in protest of animal welfare at the park and Miami rapper Trina received letters regarding her performance last year.

SeaWorld officials, however, encourage critics to check it out for themselves.

“Our animal care team does an incredible job caring for these animals,” says Carter, noting that the park performs “significant amounts of rescues” per year.

Carter and Jackie Plaza, the park’s vice president of marketing, are already planning for next season’s lineup that will be announced in January. In the meantime, SeaWorld fans can check out its other music programming including the Bayside Bands, Brew & BBQ concerts, which feature performances from Uncle Kracker on Aug. 22 and Skillet on Aug. 29.

As attendees make their way out of the venue, excitement lingers through the air. Groups of friends are still singing the words to their favorite Soulja Boy songs and parents are strapping their antsy toddlers into strollers. A lengthy line begins to form in front of the amphitheater where an orca show will happen.

“That was wild,” one guest says.

A friend agrees. “Now, let’s go see some animals.”

Audience members are splashed during an “Orca Encounter” live presentation at SeaWorld San Diego.

The brand new series hosted by Steph McGovern follows amateur art dealers putting their skills to the test

BBC Two’s brand new series has been plunged into chaos as contestants clash on air.

Former BBC Breakfast host Steph McGovern has returned to television screens for the hit BBC series that is set to rival The Apprentice.

The Big Deal with Steph McGovern follows seven trainee art dealers from around the UK who are putting their creativity, negotiating and profit making skills to the test as they battle it out to win a piece of art worth a staggering amount.

Airing new episodes every Thursday at 8pm on BBC Two, tonight’s instalment (Thursday, August 20) follows the six remaining amateur pairs who are split into two teams and challenged to sell contemporary art to furnish multi million pound homes.

A synopsis read: “Host Steph McGovern and series mentor Cordelia de Freitas are joined by Peter Staunton, an award-winning luxury interior designer who is on hand to tell the dealers about his clients’ tastes, as well as sharing tips and tricks when it comes to investing in art for the home.”

The dealers had a limited time to hunt for the best works before pitching their ideas directly to the homeowners – those with the lowest amount of commission would face elimination.

And it wasn’t long before tensions started to rise as the show was plunged into chaos. The teams were split into two larger groups, with opinions regularly clashing between Daisy and Darren.

Later, series mentor and art dealer Cordelia de Freitas and Peter Staunton, award-winning luxury interior designer met up with the teams to see what art work they had bought.

Despite a brief of a bronze sculpture, Daisy and Rebecca returned with two blue pieces as Cordelia said “talk about that” when it came to discussing the artist.

However, Daisy replied: “But guys, we’re not pitching to you right now”, as Cordelia added: “We’re here to help.” Daisy went on to say: “No, no it’s been a long day trust me, we can turn it on tomorrow.”

Speaking to cameras, team member Darren admitted: “Would I have picked those blue whatever they were? No absolutely not.”

Darren and Graham and Daisy and Rebecca clashed again later on the show when they butted heads choosing a sculpture design to pitch.

When Darren said they would get to the story behind their chosen design, Rebecca hit back: “Is there much point if we’re not going to pitch it”, to which Daisy stated: “Mum just leave it.”

Clashing on their opinions, the group continued to talk over one another as their co-stars looking on from the sidelines, Deborah and Rebeckah, told cameras: “I had to clock out because I found it distasteful and I’m not here to disgrace myself so I wanted to step out of it.”

Also speaking to producers, Darren said: “There’s definitely a divide there but again, this comes down to personality and taste. We’re not always going to like what other people like and they aren’t going to like what we like.”

The Big Deal with Steph McGovern airs every Thursday at 8pm on BBC Two

LOS ANGELES — U.S. immigration officials worked with Iran to deport Iranians in 2025, newly released emails show, revealing a working relationship between the U.S. and Iranian governments despite tensions mounting between the countries.

Hundreds of emails exchanged between U.S. immigration officials, which were obtained by the National Iranian American Council and made public Tuesday, offer the most transparent play by play yet of how the two countries worked together to arrange for more than 100 Iranians to be flown back to Iran on three separate immigration flights in September and December 2025 and January 2026.

The emails show that Iranian officials had some influence over which Iranian immigrants in the U.S. were sent back to their home country, and U.S. Immigration and Customs Enforcement officials apparently heeded some last-minute changes to deportation lists at the request of Iran.

“Per request from the Iran Embassy I added a few cases,” one unnamed ICE official wrote in late August, a month before the first deportation flight in September. Just over a week later, someone with the same job title moved to make another, unspecified change to the deportation list after they said they met with the “Director at the Iranian Embassy.”

“Iran has requested that I amend the previous manifest and expedite the removal process,” the official wrote.

In a Sept. 26 email, just three days before the deportation flight left U.S. soil, an ICE official said in an email that the Iranian Embassy was still making requests for three additional Iranians on the flight. It’s not clear who ended up on the flight, which ended up being much smaller than initially planned. Iranian officials were still making requests the day the flight departed, although one official wrote that those requests were denied.

Coordination of the flights remained a high priority even as ICE officials acknowledged internally that Iranians were fleeing Iran amid the deadly 12-day war with the U.S. and Israel in June 2025, emails show. The flights departed just months after the U.S. and Israel agreed to a ceasefire with Iran.

The new emails highlight a clear departure from a decades-long practice by the U.S. of welcoming Iranian dissidents, exiles and others since the 1979 Islamic Revolution forced a large number of Iranians to flee.

The deportation of Iranians to a country whose government has a pattern of violent persecution against women, religious minorities and political dissidents has drawn significant criticism from human rights activists.

The Department of Homeland Security did not offer comment in response to an emailed request sent Tuesday afternoon.

Some deportees were handpicked by Iranian officials, emails show

Iranian officials acknowledged in September 2025 that as many as 400 Iranians could be returned under an agreement with the Trump administration. They said most of the Iranians had crossed into the U.S. from Mexico illegally, while some faced other immigration issues.

It is not clear from the emails how frequently U.S. immigration officials had direct contact with the Iranian government. Sometimes messages were conveyed through Qatari officials, who helped charter the deportation flights through Doha, but other times officials reference regular meetings with the “Iranian delegation,” the “Director at the Iranian Embassy” and other unnamed Iranian officials.

It is not clear whether the people Iran put on the list had volunteered to repatriate or if they were forced. Previous reporting from The New York Times revealed that asylum-seekers were among those deported to Iran, while others said they were deported against their will.

At least one person was deported who wasn’t supposed to be, emails showed.

“An Iranian not included on the final manifest we sent to the Qatari MOI was boarded on the flight,” an unnamed U.S. official wrote.

In response, another unnamed U.S. official wrote, “I have no idea how the case/person got through on the plane.”

U.S. prioritized deportation efforts during war

Emails suggest that pressure to carry out the Iranian deportations came from the highest levels of the Trump administration, even when U.S. and Israel were exchanging strikes with Iran in a 12-day conflict between June 13 and June 24, 2025.

Just days after Trump’s June 16 warning on social media that “Everyone should immediately evacuate Tehran!” the former acting director of ICE, Todd Lyons, called the repatriation of Iranian immigrants a “priority” in an email sent to the agency’s head of removal operations Marcos Charles and a number of unnamed staff.

Shortly after Lyon’s email, Charles forwarded the message to a group of officials whose names are redacted. An unnamed ICE official responded, warning that “removal will prove difficult” amid the ongoing conflict because Iran wasn’t issuing the travel documents for Iranians eligible for deportation. On top of that, the Iranian airspace was closed to all flights during the bombings and Iranians were fleeing the country.

Charles was unfazed, telling staff in a subsequent email to make a plan to deport 58 Iranians with final removal orders in ICE custody at the time.

“We need a plan forward ASAP,” Charles wrote. Another official, who name was redacted, urged colleagues to “identify a solution for this White House priority.”

Jamal Abdi, the president of the National Iranian American Council, said the emails undermine Trump’s assertions that the U.S. is at war with Iran to save ordinary Iranians from a repressive regime.

“It demonstrates that the top priority here was to kick out as many people as possible by whatever means necessary,” Abdi said.

Iranian officials had access to immigration detainees

On several occasions, the emails show ICE officials arranging for Iranian officials to meet for unspecified reasons with people detained in the U.S., echoing testimony from Iranian asylum-seekers in an unrelated lawsuit filed by an unaffiliated Iranian interest group in July.

Eleven Iranians in immigration detention said they were forced to meet with Iranian government officials while in ICE detention. Those Iranian authorities knew intimate details about their asylum claims, according to the sworn declarations filed in a Washington, D.C., court in July.

The lawsuit alleges that U.S. immigration agencies have been illegally sharing confidential information about Iranian asylum-seekers with the Iranian government.

The U.S. government is allowed to work with government officials of foreign countries to coordinate deportation logistics. However, federal regulations passed in the late 1990s prohibit the government from sharing information that could reveal that the person getting deported applied for asylum.

DHS vehemently disputed the lawsuit’s allegations.

“These allegations that ICE shared asylum application records with the Iranian government are FALSE,” DHS said in a statement in July.

Riddle writes for the Associated Press.

WASHINGTON — President Trump played White House tour guide on Wednesday, showing off the helipad he is building on the lawn before leaning over to autograph a piece of it and bragging about the ballroom he’s rushing to complete despite legal challenges.

Trump gushed for several uninterrupted minutes about granite being laid and said the chopper landing area would leave visiting foreign leaders “very impressed” — including Chinese President Xi Jinping, who is coming next month.

At times, he sounded almost like a construction manager, singing the praises of granite over asphalt in painstaking detail and noting for reporters he brought out for the show that the stone could withstand 35,000 pounds per square inch of pressure.

“That’s stone that, if you took a hammer and you started hammering right now — all day long — you wouldn’t see a mark on it, literally, that’s the kind of power it is,” Trump said, at times straining to be heard over the thrum of ongoing work behind him.

The president also revealed for the first time that he has replaced the walkway from the White House’s diplomatic entrance along with a portion of the asphalt driveway around the South Lawn with white granite.

“One thing I know how to do is build,” he said, asserting that asphalt is “not appropriate for a great house, or a great place like the White House.” He said that, had he instead merely used “really powerful concrete,” it would have supported ”just a tiny fraction of that in terms of strength.”

Trump relishes being the builder-in-chief

The president is called upon to fill many roles as president, but embraces none with as much zeal as managing various building projects to mold the White House and large swatches of Washington in his own image, seeming happiest recalling his days as a real estate developer.

Trump also likes to show off his handiwork and having the White House press pool on hand at all times gives him a readymade audience. Last year, he made an appearance on the roof of the briefing room to survey a future work site, and earlier this summer, he took reporters for a closer look at the ballroom construction site.

It suggests Trump remains focused on such projects, even as his war in Iran nears the six-month mark, his approval ratings sink with just 2 1/2 months to go before critical midterm elections, and as voters are increasingly worried about a weakening economy.

Trump drove home just how important the construction projects are to him, calling the work “very exciting.”

“This will be here long after we’re gone,” Trump said of the projects. “No matter what happens with the world.”

But whether it will endure after he leaves office remains to be seen. Trump once suggested that his refurbishing of the Lincoln Memorial’s Reflecting Pool would last a century, only for the paint to fade and its liner to peel away in chunks just days after it was laid.

Trump again says his ballroom will have security value

The president has increasingly insisted that the $400 million ballroom will add security to the White House and include things like anti-drone technology. His administration even unsuccessfully sought $1 billion in congressional funding to make military improvements to the structure.

“This will be the greatest military complex slash ballroom anywhere in the world,” he said.

Trump also scoffed at court orders seeking to block its construction without congressional approval, saying work is continuing regardless and predicting that the Supreme Court will eventually side with him and allow the project to be completed.

The president found time to talk again about one of his favorite subjects of late — grass — and praised at length Scotts-Miracle Gro. The company’s former CEO is a Trump supporter, and it donated $1 million to repair the grass on the White House lawn after it was damaged by Trump’s UFC fight marking his 80th birthday in June and by the helipad construction.

At one point on Wednesday, Trump signed the back of one of the granite stones that was marked “Donald Trump 45-47 president” for the occasion. Its front is shaped like an eagle and will be laid into the helipad’s presidential seal once work is completed.

“I thought this would be a little different kind of a news conference,” the president said. “We were going to sign this privately and just put it in. I said, ‘This is something I think the press should see,’ and I hope you liked it.”

Trump had some of the construction workers sign the granite, too, and joked about leaving it upside-down so that his signature would be visible for future generations.

“Nice job, fellas,” he told the workers. “Does anybody know the word media?”

Trump also confirmed Wednesday that he’d delayed ongoing work on the helipad to ensure the project could be regraded to lay flatter.

He said that the granite used “has a million-year life” and predicted that it “will never break. It will never leak. It will never do anything” — which would mark a departure from the problem-plagued Reflecting Pool project.

“Nature is stronger than what the human can produce,” Trump said of the granite. “It’s really pretty amazing.”

Weissert and Binkley write for the Associated Press. AP writer Darlene Superville contributed to this report.

MADONNA appears to have outed herself as a fan of The Durrells, after taking over a tiny village made famous by the ITV drama to celebrate her 68th birthday.

After I revealed how Madge had spent the start of her celebrations flying to the monasteries of Meteora in Corfu over the weekend, stunned locals now tell me how she and her entourage descended on Kouramades for a very special party this week.

The tiny community, which has just 180 residents, was one of the locations used on the hit show, which starred Keeley Hawes.

Madge, boyfriend Akeem Morris, her family and entourage booked out tiny taverna Atzaro for a meal, complete with a child choir, who locals told me were specially flown over from Italy to perform.

An onlooker told me: “No one could believe Madonna was coming until she actually turned up.

“The security measures were pretty intense and there was a police presence, as well as Madonna’s security to keep her safe.

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“She wanted to visit the central church but they cancelled it because there was quite a crowd gathering. They headed to Atzaro for dinner and that was really special. Singers and a children’s choir from Italy performed as they ate traditional meals.

“Just before midnight, the group started dancing to the Zorba The Greek song and a birthday cake came out. They sang the birthday song three times and then danced until 2am. Once they left, the crowds that had gathered outside started clapping and chanting her name.”

Madonna’s visit to the village has now gone down in folklore — and I’m told the Material Girl superstar lapped up the attention.

“As she drove away, Madonna seemed to love everyone cheering so she popped her hand out and waved a bit like a member of the royal family,” a local added.

Her birthday isn’t the only thing she has to celebrate, as last night it was announced Madonna is the most nominated artist for the 2026 MTV VMAs, taking place on September 27.

She leads the pack with 11, including Video, Artist and Song of the Year for Bring Your Love, while Taylor Swift is just behind with nine nods.

Jesy’s Ben in rooftop rift

JESY NELSON had to play peacekeeper during a night out after boyfriend Ben Davies was caught up in a ruckus.

Onlookers told me the former Little Mix star and her new man were asked to leave the posh Madison rooftop bar in London on Saturday night after it all kicked off.

One told me: “Ben was getting in people’s faces when he was out with Jesy at Madison.

“Something had been said and he didn’t seem to be happy about it. He looked like he was about to get in a fight before all the bouncers swooped in.

“It was all pretty uncomfortable to watch. Jesy was amazing and kept her cool. She was trying to de-escalate the situation and appeared to be keen to get out of there.”

It’s not the best start to their romance. I revealed earlier this month how Jesy had started dating landscape gardener Ben, who counts Towie’s Lydia Bright among his exes.

They were spotted on a night out in London, before being snapped this week holding hands and snogging in the street, inset.

To avoid Ben digging any more publicly embarrassing holes, I think a quiet night in should be their next date.

Ronan abs go down a Storm

RONAN KEATING marked his 11th wedding anniversary to remind all his fans just how hot he is.

He revealed his gym-honed body with this snap on Instagram, posing alongside his equally fit missus Storm.

The Boyzone singer wrote: “We have the most incredible life and it’s all down to you. God I love ya.

“Thank you for loving me through the good and the bad versions of myself. You make me a better human and I thank you for it all.”

Green Day give us Glasto

GREEN DAY want to headline Glastonbury – but insist they have never been asked.

The American band, who have more than enough hits to top the bill, will be celebrating 40 years since they formed next year, so the timing couldn’t be better for organiser Emily Eavis to get on the blower.

Asked if they would like to do it, drummer Tre Cool said: “Yeah. If they ask us. It’s the last great festival we haven’t done.”

They have just released a comedy movie called Nimrods, which is loosely inspired by the band, but insisted a biopic won’t happen until they’re older.

He told NME: “A biopic is more of a retirement plan. We’ll do that when we’re actually old and we’re doing our residencies in Las Vegas or something.”

Spotify is planning Home Run

SPOTIFY has announced a new live music series, Hometown, which will celebrate artists and the places that shaped them.

Next month, Jorja Smith, Nemzzz and Beabadoobee, will return to the communities where their musical journeys began for intimate, one-night-only performances.

Jorja, who releases her new album What Are The Odds this Friday, will play her gig on September 6.

She said: “Walsall is where I first started writing and recording music as a teenager. It’s where my love of music began and the people, experiences and sense of community there continue to influence my creativity today.”

Nemzz will perform in Manchester on September 12, while Beabadoobee is scheduled to play a concert in London on September 17.

Noel: My reunion doubts

NOEL GALLAGHER had reservations about reuniting with brother Liam for their sold-out Oasis tour last year.

In the first trailer for Oasis: Don’t Look Back In Anger, in cinemas from September 9, Noel said: “I just don’t see myself on stage with Liam. I really don’t want to be going back with the tension. Will it fall apart?”

But Liam, who’d pushed for a reunion for years, made it clear he wanted to get back on board with Noel, saying: “The way it finished, unacceptable. It didn’t sit right with me, man.”

Looking back on their rows, which caused Oasis to split in 2009, Liam said: “We all said s**t we didn’t mean. I feel like I am exorcising demons, getting it all out. The rage. I need to calm the f**k down.”

Before the first show at Cardiff’s Principality stadium last July, Noel added:

“One of the biggest moments of our lives, right?

“I’d forgotten what [Liam] means to people. I certainly wasn’t prepared for the intense outpouring. A sense of what it meant to people. You’ve got a chance to change the narrative of the band.”

Isla’s red-hot

YOU can take it as read . . . Isla Fisher is definitely a fiery redhead.

On the promo trail in New York for new movie Spa Weekend, which is out on Friday, she said: “I’m a real redhead and I feel like I’ve earned the right to be red because I was bullied at school and I had all of the usual stuff that redheads go through.

“I always get mad when people just dye their hair red, I’m like, ‘You don’t know what we went through at school to be redhead!’”

THE WANTED are working on new music – but without half of the original line-up.

Max George and Siva Kaneswaran are writing new material as a duo after Nathan Sykes and Jay McGuiness decided not to return following Tom Parker’s death in 2022.

Siva told Culture Fix: “We’ve been writing for the past few months, so we want to carry on.

“The essence of The Wanted was pop/dance and I think we’re going to lean a bit more towards dance.

“I don’t think that’s a crazy thing to do for us.”

In 2007, the actor Felicia Day debuted “The Guild,” one of the first works, maybe the first, to demonstrate that the web could be a legitimate platform for full-blown, character-driven, narrative comedy. (YouTube was only two years old at the time.)

Online since there was a line to be on, Day — also known also for “Supernatural,” “Buffy the Vampire Slayer,” “Eureka,” “Mystery Science Theater 3000” and as the female lead in Joss Whedon’s “Dr. Horrible’s Sing-Along Blog” alongside Neil Patrick Harris and Nathan Fillion — played Cyd, a.k.a. Codex, a young woman at loose ends who finds community with a group of gamers whose quirkiness puts her own into perspective. The series, which she created and wrote, from experience, grew more ambitious and technically impressive across its six seasons, with cameos by the likes of Fillion, Zachary Levi, Stan Lee, Brent Spiner, late Mythbuster Grant Imahara and Wil Wheaton. There was a cultural specificity to the setting and storytelling — lots of gaming jargon and jokes — but the humor in the characters was universal, and the show, for all its well-proportioned silliness, felt very alive.

Now, as the series’ 20th anniversary approaches, Day is reviving “The Guild” as a feature, “The Guild: Ren Faire’d,” through a Kickstarter campaign due to end Friday. By the time I pledged, early on the first day of fundraising, the campaign had already met its initial $1.5-million goal — the minimum required, Day calculated, to pull off a version of her script. As of this writing, with just a few days to go, the campaign has raised more than $5 million. Everything over $4.5 million will go to making the film even better, but also support “Conludo,” a new game-playing series with Wheaton along the lines of their “Table Top,” created in 2012 for the Day-founded YouTube channel Geek & Sundry.

Day is also the author of a charming memoir, “You’re Never Weird on the Internet,” and a mental exercise book, “Embrace Your Weird: Face Your Fears and Unleash Creativity.” Earlier this year, Simon & Schuster published “The Lost Daughter of Sparta,” her graphic novel (with illustrator Rowan MacColl) about Philonoe, Helen of Troy’s lesser-known fourth sister, an on-brand tale of self-determination and embrace of one’s difference.

I interviewed Day by email as she traveled the convention circuit.

Day’s Kickstarter surpassed $5 million, allowing her to make not only “The Guild: Ren Faire’d” but also a new game-playing series. (Parker Burr / For The Times)

How does it feel to be back wearing, or about to wear, the character of Codex?

It’s so empowering to go back to this world that I crafted and this character that means so much to me and my fans. She and I have diverged a lot over the years, but her voice is still strong and clear in my ear, and I’ve had so much fun writing for her again. I haven’t been in charge of my own stories on this scale in a long time, so this all definitely feels like coming home.

It was an offer to turn “The Guild” into a television show that prompted you to get the film going. Had you thought of the possibility of bringing it back before then?

Early in 2025, I’d been thinking about the 20th anniversary of the show and how to celebrate it, but a movie is a huge project, one I was wary of committing to. A phone call with a very nice Hollywood executive wanting me to reboot the show with younger actors was the kick in the pants I needed. The business has been so hard on me, and a lot of people, especially these last five or so years. To even think about having the one project I held dear taken away from me? That got my fire lit.

How did you know to hang on to your IP?

I had met a few people in the early web days who’d sold their show to producers and networks, only to have them buried in development hell and never be seen again. My audience meant, and still means, so much to me, that I didn’t see the point in losing control of the show when it felt like we were doing all the right things on our own. The fans’ support gave me that confidence, and thank goodness for it, or I wouldn’t be able to make a movie today.

How did you cast the original show? Were any of the actors already gamers?

I wrote two of the main parts for improv friends, Zaboo (Sandeep Parikh) and Vork (Jeff Lewis), and I found the rest of the actors from a Backstage casting call. Several of them were already gamers, but a few were anything but (namely, Amy Okuda, who played Tinkerballa — she took some arm twisting). Over the years, though, they’ve all turned into gamers. We’ve enjoyed many a Fortnite session together, especially during COVID times.

Felicia Day as Codex. Other characters returning for “The Guild: Ren Faire’d” are Zaboo (Sandeep Parikh) and Vork (Jeff Lewis).

How has your reunion been going?

I had to make sure the script was good enough before I asked my fans to support it, so in February I had a table read with the main cast. Truly, it felt like no time had passed. We were all laughing so hard, ribbing each other on any little mistakes. It was so much fun to rediscover our characters together again. What we have together as a group is magic, and I can’t wait to get the band back together on set again.

You have a “no AI” sign on the Kickstarter page. What are your thoughts about artificial intelligence versus human creativity?

I look at AI as a great robber of humanity. Not only in the sheer existence of the AI itself, which is comprised of literal stolen material, but in robbing creators of their process. Because process is everything. It’s the whole point, in my opinion. That challenging struggle to write a first draft is how you discover who you are as an artist. But if you don’t do the work, you’ll never truly find out what you want to say to the world. You can’t create anything truly unique to yourself. It just makes me sad. To use a tool filled with other people’s stolen ideas in order to fast forward to an end result for attention, well, that isn’t art. That’s a cheap dopamine hit. And you’re no better a creator for having done it. Please don’t rob yourself like that.

The movie will be set at a Renaissance Faire. What’s your own history with them? Do you go in costume?

I’ve gone to Ren Faires for over a decade. We have a few great ones in SoCal I encourage everyone to explore. The costumes, the vendors, the food — all of it transports you to another world in such a magical way. I want to celebrate everything I love about the setting in our movie. I often go in costume, now with my 9-year-old daughter. It’s actually our Mother’s Day tradition and very dear to my heart.

Day on her work and motherhood: “I’ve learned that, especially as an artist, you have to be your own protector, own advocate, and give yourself unconditional love to be able to tap into what makes your art your own.”

(Parker Burr / For The Times)

Has motherhood changed how you work?

Absolutely. I had no idea how to parent myself before I parented another person. I’ve learned that, especially as an artist, you have to be your own protector, own advocate, and give yourself unconditional love to be able to tap into what makes your art your own. My experience writing this movie has been entirely different from in the past, when I let fear and outside pressure take the fun out of creating. This time, I allowed myself room to play and to make mistakes, just like I encourage my daughter to do. I think my work has benefited greatly from that gentle parenting.

The original “Guild” and the way you’ve mounted this campaign feels like the work of friends, like Mickey and Judy getting the gang together in a someone’s uncle’s barn to put on a show. (Which isn’t to say “amateur.”)

The heart of everything I do is this: I just want to play with my friends and my fans. I want to delight them with new ideas. I want to surprise them with laughs. The industry often divorces us from what got us into the business in the first place: making believe. Creating together. I like my work to embody the kind of spirit you can’t have in more mainstream media where there are levels of approvals over everything and the budgets are so high that the pressure takes the fun out of it. Yes, it’s challenging to make anything with fewer resources, but the community can see the ins and outs of my process and I hope that empowers them, in turn, to create their own things with their own friends one day.

What inspired your new graphic novel?

Being cut off from Hollywood over COVID made me brave enough to write a story I knew wouldn’t be anything an executive would care about if I pitched it. For many years, I didn’t allow myself to develop ideas like that. What was the use if they didn’t find it useful? But in allowing myself the space to write this story set in the world of Greek mythology, I’ve found new confidence as a writer. I want to keep telling stories only I can tell, in whatever format I can. I never want to discard them again because other people won’t find them useful. I hope that anyone reading the book feels the same encouragement to follow their inner muse. Because everyone deserves to be loved for exactly who they are, even our stories.

In a nondescript black building in downtown L.A.’s Arts District, rich sounds of sax and bass filled the air for hours. Inside, surrounded by the paintings and posters of iconic musicians, albums and films, dozens of people gathered for a night designed to prove a simple point: You can’t “cancel” jazz.

On Thursday night, eight jazz artists and groups performed a pop-up show, including Okay Coleman!, the Don Brown Collective, Joy Guerilla, and Genghis Don, who also organized the event. All of these artists had one thing in common: They were billed to perform on the now-canceled inaugural L.A. Jazz Festival.

The planned 17-day event was supposed to kick off on Aug. 7 and feature dozens of performances spread throughout every City Council district. Organizers hoped the shows would draw 250,000 attendees and inaugurate the city as a home for jazz events on par with New Orleans and Montreal. The festival was to include a final show headlined by Janelle Monáe, John Legend, Charlie Wilson, Parliament Funkadelic and Raphael Saadiq at Dockweiler State Beach.

“When I got booked for it, I was really excited,” Genghis Don said. “It was one of the bigger festivals I’ve done so far in my career.”

Glen Turner of Joy Guerilla performs at the “Can’t Cancel Jazz” event Thursday.

(Brian Feinzimer / For The Times)

Then, the festival was abruptly canceled due to “last-minute public safety and municipal costs.”

But Don was determined for the show to go on. He partnered with Tída Norasingh of JIJI’s Jazz Club to host the “Can’t Cancel Jazz” pop-up show at Slow Jamz Gallery — a musical experience that was curated in less than 72 hours, according to Don.

“It all came together thanks to so many people who were involved in this,” Don said. “I really couldn’t have done any of this without them.”

The crowd, which leaned younger in part because the event allowed attendees 18 and older, trickled in around 7 p.m., and by 9 p.m., the party was in full swing. It was easy to see how audience members connected with the music by the way they cheered, danced and sang along through the night.

The pop-up show struck a balance between creating an accessible, music-forward environment for fans and providing support for the musicians who had been affected by the cancellation. The event’s entry fee was $20, while the nonalcoholic bar accepted additional donations. Some artists also had merch available for sale on site.

While “Can’t Cancel Jazz” may have been a response to the L.A. Jazz Festival being called off, it wasn’t aiming to replace it. Instead, the pop-up offered something more intimate. At times, the music overtook the gallery, completely captivating the attention of the room. At other moments, conversation and connection were happening right outside on the balcony between attendees, some of whom were meeting each other for the first time.

The result was something distinctly authentic with an underground quality that would have been hard to replicate at a sprawling, weeks-long festival.

“This was more so a test of L.A.’s community,” Don said. “They showed out, people came, the artists came together, and you know that’s the true definition of community.”

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

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

‘Remember the Titans’

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

‘Ice Princess’

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

‘Heroes’

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

(Chris Haston / NBC)

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

‘Scream’ franchise

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

(Nina Westervelt / Variety via Getty Images)

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

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

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

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

‘Nashville’

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

(Katherine Bomboy-Thornton / ABC)

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

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

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

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

‘Kingdom Hearts’

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

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

Motsi Mabuse had a tough time with her health in 2025 but is feeling better and move positive about life and her body

Motsi Mabuse says she has begun a health routine in the run up to Strictly Come Dancing returning. The judge on the hit BBC show, 45, says she does her best to look good for the cameras, without putting too much pressure on herself.

She said: “I’ll eat healthily, I’ll swim – and it’s not about dieting, it’s about giving back to my body. I expect so much from my body. I expect it to perform, to be a mum, to work, to travel, to dance. When I step on to the beach, I’ll be like, ‘Body, now it’s your turn.’”

She added: “I have to remind myself to have love for my body. If I see somebody with a six-pack, I’ll channel my mind: ‘You’re healthy, you’re doing the best you can for your body.’”

Motsi also opened up about the impact of perimenopause after she started experiencing symptoms last year. She says it has impacted her body and mind in the last 12 months, and she struggled to cope with the changes.

She told Women’s Health UK: “I’d go: ‘Which Motsi am I meeting today? Is it the one who’s going to make me cry? Is it the one who’s happy? Is it the one who doesn’t want to see anyone?’.

“You wake up every day discovering a new side of yourself. That’s menopause…I noticed a complete shift in my energy levels and I started having pain in my knees.

“I had moments when I thought, ‘I’m not feeling [okay] in my body, I’m not comfortable with myself’…I love dancing with my husband, I love moving – and I couldn’t do that any more. It was making me unhappy.”

Struggling Motsi had a health assessment, which showed a range of issues, including high cortisol and inflammation. She said: “We did a full-body check-up and my doctor said, ‘Mrs Mabuse, you can’t continue like this.’

“My parents and grandparents have type 2 diabetes and I had gestational diabetes when I was pregnant, and my doctor said, ‘The numbers show that you’re at risk.’ He said, ‘If you want to stay healthy in the long term, we need to make some changes.’” She also urged other women to get checked out to push to get better healthcare and not feel guilty about doing so.

Motsi added: “I have a deep sense of empathy and pain for women because they’re never going to get it right. Women are shamed all their lives and I’m not here to shame anyone.

“I have very close friends who need the help of GLP-1 and I’m not going to make them feel guilty…For me, this journey was never about becoming smaller. It was about becoming stronger. That’s my message to women: live your life. Do what you need to do to get healthy. You don’t owe anyone an explanation.”

* The full interview is available in the September issue of Women’s Health UK.

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LOTS of family shows claim to be for everyone aged 5 to 95, but in practice, very few are. 

Now You See Me Live is one of those rare West End unicorns that will have all ages on the edge of their seats (or standing on top of it in my son’s case).

And Sun Club members can get half price tickets. 

The big-budget magic shows are based on the Hollywood films starring Isla Fisher and Sir Michael Caine and Mark Ruffalo, but fear not, you don’t have to have seen the movies to understand the theatre production.

They have almost nothing in common, aside from the fact that there are four main magicians known as ‘The Horsemen’ –  Enzo Weyne, Andrew Basso, Gabriella Lester and Matthew Pomeroy – alongside three supporting magicians who all appeared on Britain’s Got Talent –  Eden Choi, Fraser Penman and Rafferty Coope. 

This is, however, as close to a Vegas-style magic show as you’re going to get in the UK, which is why it makes sense that the next stop on its world tour will in fact be the Nevada city.  

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Club members can grab half-price tickets to Now You See Me Live at the London Coliseum. 

To get your tickets, sign up to Sun Club for £1.99 a month or just £9.99 for one year in our sizzling summer sale, then head to the Sun Club Offers hub and find the Now You See Me Live page or click here. 

Running  in London until September 6, it had my son and I engrossed from start to finish. 

His jaw practically hit the floor, I squealed, the middle-aged man sitting next to me shouted aloud in wonder… the acts the magicians played out for the audience were truly mesmerising. 

Without spoiling too much of the magic, the moment the escapologist is locked, handcuffed, upside down in a tank of water in a recreation of Houdini’s water torture stunt, is undoubtedly a highlight of the show.  

As was the moment the cast appeared to travel through time, carrying possessions from the audience.

And I’ll never work out how they tasked the entire theatre of 2000-plus people to rip up a bunch of playing cards and the result that ended up in my hand.

Meanwhile, my seven year old son’s favourite act by far was Britain’s Got Talent semi-finalist Eden Choi, who appeared to shoot hundreds of playing cards out of his hands across the stage.

But for the most part, this is a full-on audience participation event, from start to finish.

We threw bouncy balls around the venue, we ripped up packs of cards, we collectively took part in mind-reading – there were very few parts of the show where we were required to stay silent.

In fact, we were actively encouraged the holler at the stage on several occasions. 

When the time came for the curtain to close, my seven year old actually stood on his seat (sorry London Coliseum staff) to give his final round of applause. 

Which surely shows you quite how impressive it was.

Click below to sign up to Sun Club and bag your half-price tickets.

18+ England and Wales residents only. Sun Club subscription required. Online access required. Offer ends at 23:59 on 31/08/26. Non-transferable and non-refundable. Offer valid on performances until Friday, September 4, 2026 for Monday – Thursday matinee and evening, Friday matinee, and Sunday matinee and evening shows, plus Friday, August 21 and Friday, August 28, 2026 evening performances only. Discount cannot be applied to previous purchases and is subject to availability. Full T&Cs apply, see below. 

POP star Pixie Lott has morphed into Hollywood golden girl Marilyn Monroe for a new West End role.

Taking the titular part in Who Killed Marilyn? Pixie has wowed early audiences with how uncannily she embodies the pin up, in a play about her life and death.

Images from the show see Pixie, 35, showcasing Marilyn’s iconic look, complete with platinum blonde wig and a slick of bright red lipstick.

The star slipped into a white satin dress (based on the gown Marilyn wore in The Seven Year Itch in 1955) and kissed a hunky co-star in scenes from the show, which debuted on Saturday and has been lauded by theatregoers.

The West End run is a deep-dive into the woman behind the legend, inviting audiences to “experience the mystery, the glamour and the raw emotion of Who Killed Marilyn?” following decades of conspiracy.

The starlet was discovered dead in Los Angeles on August 5, 1962, aged just 36.

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The actress’ death was officially ruled a probable suicide from a barbiturate overdose, but playwright Sharleen Cooper Cohen and director Philip Wm. McKinley have told theatregoers to “get ready to question everything you thought you knew…”

History has been rife with theories about the star’s demise, thanks to her links with former US President John F Kennedy, his brother Robert, and rumours of a mob cover up.

The synopsis reads: “Who Killed Marilyn? dares to challenge the most enduring myth surrounding one of the twentieth century’s most iconic women.

“Drawing on decades of documented evidence, conspiracy and cover-up, the production presents a vivid and provocative re-examination of the life and death of Marilyn Monroe, placing her at the centre of a web of power, politics and desire that reached the highest levels of American government and organised crime.

“Who Killed Marilyn? restores Marilyn Monroe to her rightful place, not as a victim, but as a woman of extraordinary intelligence, wit and force, whose story has never been fully told. Until now.”

Pixie – who is married to model Olicer Cheshire and has two sons – recently said of the role: “I have always loved Marilyn, she is such a fascinating, timeless legend, and bringing her complex story to life on this beautiful stage and being her every night is an absolute dream come true for me.”

When the doors to the emergency room in “The Pitt” swing open and a new patient arrives, we, like the doctors, are on high alert, wondering what the acclaimed medical drama is about to throw at us.

We know two things: The actors will be superb. And it’s best not to become too attached to the characters they’re playing.

Five of those actors earned Emmy nominations for Season 2 guest turns on “The Pitt” last month, a long-overdue return to the time when the guest categories regularly rewarded working actors doing exemplary work.

Even better: Two of the five “Pitt” nominees self-submitted their performances after HBO Max, looking to streamline its submissions in the guest categories, did not put them forward.

If you watched the second season of the show, you could probably name the actors who made the Emmys’ guest list: Tina Ivlev, heartbreaking as the sexual assault survivor; Brittany Allen, poignant as the dying mom; Tal Anderson, combative and funny as Dr. King’s neurodivergent sister, who craves independence from her protective sibling; Ernest Harden Jr., devastating as the doomed Louie; and Jeff Kober, who, playing Dr. Robby’s motorcycle mechanic, has some of the most affecting scenes in the season.

HBO Max entered Ivlev, Harden and Anderson, leaving Allen and Kober to pony up the $225 to submit themselves, joining the ranks of 84 entrants for guest actor and 51 for guest actress. (To be eligible to compete in guest, actors must appear in less than 50% of a show’s eligible episodes.) Eight other actors appearing on “The Pitt” also self-submitted.

“The three actors that HBO put forward delivered beautiful, human work that resonated deeply with audiences, and they were in a tough position having so many actors who had all delivered great performances,” Allen told me over a call from her Pasadena home.

“Though at first there was a moment of disappointment, I quickly moved on from that,” Allen continues. “I didn’t take it personally because as an actor, you get good at not taking things personally.”

Kober, calling from the Valley, signs off on that sentiment. He won a daytime Emmy in 2022 for “General Hospital” after he submitted himself.

“I guess that’s how the Emmys work for me,” he says, laughing. “I don’t know any other way.”

There is precedent for self-submission success at the Emmys. Three “Game of Thrones” cast members — Gwendoline Christie, Alfie Allen and Carice van Houten — entered themselves in 2019 and were nominated. Kelly Jenrette did the same in 2018 for “The Handmaid’s Tale” and earned a nod.

For Allen, it came down to believing in herself and the work she did on “The Pitt.” As her seven-episode arc aired, strangers often stopped her at her local Trader Joe’s and at the park with her 3-year-old son to tell her how moved they were by her performance and her character Roxie’s decision to accept that her life was coming to an end and say goodbye.

But, good as it was and seen as it was, that work didn’t translate into landing an agent. Having recently turned 40, Allen figured she had nothing to lose, having reached an age where she wasn’t “as worried about being perceived as the quiet little girl who doesn’t ruffle any feathers.”

In a challenging industry, that approach has resonated deeply with her peers.

“I’ve had similar moments in the past where I’ve had a memorable role on a high-profile show and I’ve thought, ‘Maybe this will make it a little easier moving forward’ and it hasn’t,” Allen says. “So if ever there was a time to go, ‘I’m going to try to put my name out there in a way that might make me a little more bankable,’ this is it.”

Kober, 72, has had ups and downs over the course of his 40-year acting career and like Duke, the grounded mentor he played on “The Pitt,” he possesses a calm acuity when talking about the profession.

“Acting is the most profoundly spiritual career a person could have because you don’t get into it unless you need approval, and then when you get that approval, you find it doesn’t do a thing for you,” Kober says. “Then you’ve got to find a way to do something with this thing you love that isn’t about getting approval. It’s only when you’re not working for that when you know the work matters.”

With his shoulder-length hair, goatee and go-with-the-flow manner, Kober gives off distinct vibes of another Jeff — Jeff “The Dude” Lebowski.

“I have heard that comparison made,” Kober says, smiling.

Both Kober and Allen express deep appreciation for “The Pitt” as a workplace where actors can come in and do the kind of work that they aspire to do, work that resonates with audiences and reminds them why they entered the profession in the first place.

“I love being on set,” Allen says, “so going to Warner Bros. every morning as the sun rose and watching that miniature city come to life and having the privilege of working in an environment that is so ripe for accessing truth and play and shared humanity was a gift. When Roxie came along, I saw it as the epitome of what I want to offer as an actor and as a person in this life.”

Because of her character’s fate, Allen will not be returning to “The Pitt.” The fate of Duke, diagnosed with a life-threatening ascending aortic aneurysm, is ambiguous. Dr. Robby encourages him to follow up with further tests, which Duke agrees to do if Robby promises to return from his sabbatical and let him take his Triumph Bonneville for a ride.

So … Duke’s coming back, right?

“One would think,” Kober says, hopeful. But then, he jokes that maybe there will be a line next season where someone in the ER says, “Did you hear about Duke? What a shame.”

“Or he could come back in Season 4, who knows,” Kober adds, noting he has heard nothing from the show’s producers. “One thing I’ve learned over the years as an actor is the importance of letting go. That’s the life of an actor.”

On Friday night at the SoFi Stadium, there was nothing random about the songs that played just before Karol G took the stage for the first of three evenings at the venue. We can safely assume that the Colombian superstar selected the cuts herself — the perfect tropicoqueta mix to set up the mood.

First, a shadowy “Bésame Mucho”; Elvis Crespo’s merengue smash “Suavemente”; the Afro-Cuban nugget “El Manisero”; and two life-affirming hits by the Queen of Salsa herself, Celia Cruz: “La Vida Es Un Carnaval” and “La Negra Tiene Tumbao.”

These carefully curated gems share a common element: They managed to transcend the stylistic contours of their respective genres and become something bigger — the kind of irresistible, it-takes-a-village anthems that will lure everyone to the dance floor, even if they don’t understand the lyrics.

And that is exactly what Karol G — la bichota, the South American Cleopatra, the woman with the billion-dollar smile — has been doing for global pop since the release of “Tusa,” her imperial duet with Nicki Minaj, back in 2019.

(Jill Connelly / For De Los)

Karol is currently the 42nd-most-streamed artist on Spotify, and her albums “Mañana Será Bonito” (2023) and “Tropicoqueta” (2025) helped reinvent the sound of contemporary Latin. She emerged from the reggaeton thunderstorm that hijacked the planet, but then guided it smoothly into a different aesthetic territory, far away from the movement’s misogynistic toxicity. Her ongoing collaboration with producer Ovy On The Drums — they’re the same age, 35, both from Medellín — was transformative, combining clanging, tribal beats with liquid textures and a refined, champagne-like lightness.

Part of the massive “Viajando Por El Mundo Tropitour,” Friday’s performance confirmed the singer’s stature as one of the most vital and charismatic Latin artists of the 21st century. More than a conventional concert, it felt like a stark, delirious fantasia, a relentless cinematic mosaic of decadent dance numbers and hyper-popped fragmentation presented in five acts, unified by a tropical visual motif: lush vegetation; a blue lagoon where cleansing erotic rituals take place; plumes of purifying fire to expiate the aftertaste of all those failed romances.

(Jill Connelly / For De Los)

Beginning with the wicked reggaeton beat of “Latina Foreva” — an existential jam about curves and pleasure, the freedom of the flesh — Karol ignited a deafening roar of adoration from the full-capacity crowd. For a moment, I got a taste of what Beatlemania must have sounded like in the 1960s.

As the cameras followed her closely, projecting every playful grimace and flirtatious wink onto the giant video screens, the complexity of her artistic persona became increasingly transparent: an indomitable woman who is deeply connected with primal joy and sensuality, but also vulnerable enough to get her heart broken on the way to the red carpet (and still embrace the experience). In the world of Karol G, what doesn’t kill you makes for an international hit.

Admittedly, it was the aggressive, in-your-face numbers that worked best. Karol sounds even better when surrounded by half-naked dancers — “Gatúbela” and “Ojos Ferrari” were highlights in that respect — and the choreography evoked the sweaty rapture of a full-blown Roman orgy.

(Jill Connelly / For De Los)

But she’s also smart enough to alternate the futurism of neo-reggaeton (the cutting-edge territory where her work with producers like Ovy On The Drums and Tainy has given us some astonishing records) with an affectionate nod to the past glories of Afro-Caribbean lore: the 20th century cultural bubble where Colombian families listened to the “14 Cañonazos Bailables” compilations during the Christmas season.

On the title track of “Tropicoqueta,” she draws an imaginary line that connects her current sexual emancipation to the frisky downbeats of 1950s mambo and the early 2000s movement that jazzed up the Afro-Caribbean classics with a digital bounce. On Friday, she salsified “Provenza” and added the riff of Willie Colón’s “La Murga” as an intro to “Tusa.” Her visual recreation of the “Tropicoqueta” album cover onstage was one of the show’s wittiest moments.

At one point after the success of “Mañana Será Bonito,” Karol must have realized that her newly acquired diva status gave her the chance to voice some valuable thoughts on the merits of Latin American culture.

In between songs, Karol spoke with compassion about the recent earthquakes affecting Colombia and Venezuela — the latter of which is where her poised opening act, Elena Rose, also hails from — but her pan-Latino ideology seeped into the music as well. Her face was covered in tears after she performed “Ese Hombre Es Malo” backed by female mariachi players. At the end of the show, a stunning reading of “Si Antes Te Hubiera Conocido” revealed the instinctive ease with which she can navigate the sweet, syncopated phrasing of Dominican merengue.

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Elena Rose opens for Karol G at SoFi.  (Jill Connelly/For De Los)

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Inglewood, CA., Aug. 14, 2026. – Opener Elena Rose performs during the first of Karol G’s three nights headlining the SoFi Stadium for her Viajando Por El Mundo Tropitour. (Jill Connelly / For De Los)  (Jill Connelly/For De Los)

A few tracks from her recently released sixth studio album,”No Me Arrepiento De Sentir Tanto,” displayed a more introspective side. On the dreamy ballad “Después de Ti,” she was joined on guitar by Greg Gonzalez of Cigarettes After Sex, reenacting their performance together from April, when Karol headlined Coachella.

The deafening volume at SoFi was the only aspect of the show that got in the way. The sound stage felt bludgeoned into submission throughout, as the intense distortion of bass, percussion and guitars made the instrument separation within the mix almost inaudible.

That said, the overall experience transcended the sonic elements, as Karol is clearly using the Tropitour as a good reason to celebrate her extraordinary achievements with the fans (she even hugged a security guard).

Somewhere in the venue, a young Latina girl must have been dazzled by this extravagant spectacle and perhaps dreamed of one day following in the footsteps of Carolina Giraldo Navarro: a gifted singer and composer, a woman intelligent enough to cherish the emotional value of dancing the night away.

And that is one solid role model to have.