steal

SOUTH BEND, Ind. — Hannah Hidalgo scored 22 points and hit the go-ahead jumper with 1.9 seconds left, KK Bransford scored nine of her 11 points in the fourth quarter and No. 24 Notre Dame beat 11th-ranked USC 61-59 on Friday.

Hildalgo finished with seven rebounds and five steals and Bransford had eight rebounds, four steals and three blocks. Vanessa de Jesus added 13 points, five assists and three steals for Notre Dame (4-1). The Fighting Irish, who went into the game averaging 18.0 steals per game (No. 5 nationally), had 16 steals.

Hidalgo, facing defensive pressure near midcourt, darted toward the basket and pulled up for a contested mid-range jumper that capped the scoring. Cassandre Prosper stole Kennedy Smith‘s inbounds pass to seal the game.

Kara Dunn hit four three-pointers and led USC (3-2) with 21 points on 8-of-11 shooting. Jazzy Davidson added 14 points but committed eight turnovers. Londynn Jones, who went into the game second on the team in scoring (12.8 per game), was scoreless on 0-for-3 shooting.

Notre Dame scored the final six third-quarter points and opened the fourth with a 6-1 spurt that culminated when Cassandre Prosper made a layup with 4:25 to play, making it 52-all. Davidson hit a three, and Dunn followed with a jumper that put the Trojans up by two with 1:38 remaining before Bransford answered with a jumper that tied it at 59-59 a minute later.

Hidalgo scored eight points in a 13-2 first-quarter run that gave Notre Dame its biggest lead of the game at 15-10.

Smith made a layup that gave the Trojans a two-point lead with 2:27 remaining in the second quarter, and the lead was 33-31 at halftime. Hidalgo opened the third quarter with a layup, but USC scored 18 of the next 25 to gather an 11-point lead when Dunn — who scored nine points in the spurt — made a layup with 2:12 left until the fourth.

Up next for USC: The Trojans host Tennessee Tech on Tuesday.

MAYA Jama and Leigh-Anne Pinnock made sure they stole the show in their risque outfits at the GQ Men of the Year ceremony.

The A-list stars were out in force in tonight for the glitzy event in London.

Maya, who has just signed a massive £800,000 deal to continue as host of Love Island, looked incredible

The Bristol-born beauty made sure to turn heads in her risque outfit.

The superstar presenter wore a shredded leather pencil skirt with a matching top, that plunged at the front.

Joining her in the sexy stakes was Little Mix star Leigh-Anne Pinnock.

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The singer stepped out in a daring white dress that was slashed to the waist.

The mum-of-two looked incredible as she showed off her toned stomach in the racy ensemble.

Leigh-Anne was joined by fellow Little Mix star Jade Thirlwall, who looked equally as stunning.

The singer, who just goes by her first name now, wore, a stunning black dress.

Others stars at the prestigious event included James Bond legend Pierce Brosnan, who looked dapper in his suit.

Marvel star Tom Hiddleston and his wife Zawe Ashton also stepped out on the red carpet.

It’s fair to say that Maya is enjoying an incredible time in the spotlight, thanks to her lucrative career,

As well as cashing in from being the host of Love Island, and also banking millions from her face-mask ­business, The Sun recently revealed that she has started up a new property company and is becoming a landlord.

A source told us: “Maya is a shrewd businesswoman and, while her career is going stellar, she’s not going to be wasting her hard-earned cash.

“She’s joining celebs like Ed Sheeran and Daniel Radcliffe by buying up properties to rent out.

“It’s a clever way to invest her money as it’ll not only bring her a decent return but will see her bank balance grow over time.

“Maya did come up with the first company name, Blagging It Properties, but then changed it to something a little more sensible.

“She’s now the director of Penny Property Holdings and will start investing soon.”

Maya is also making her acting debut in the second series of Guy Ritchie‘s hit comedy- drama The Gentlemen.

The Sun revealed Maya had signed up back in May for a part in the Netflix series and filmed scenes in the summer.

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She was spotted on set at Badminton House, Gloucs, which doubles as the posh home of Theo James’s aristocrat ­character Eddie Horniman.

Maya will be playing the wife of one of Eddie’s friends and, according to sources, “she is a natural”.

The rapper and content creator have quickly become fan favourites, and despite taking home huge fees, their pay is still modest compared to some stars who have previously appeared on the show

I’m A Celeb fan favourites Aitch and Angry Ginge are taking home huge paychecks for their stints in the jungle, but compared to some bigger names that have previously been on the show, it looks like pennies.

The two joined the hit ITV show on Sunday (16 November) and within 48 hours, they had stolen the show with some fans saying they were “way too funny”. Ahead of the series starting, the rumoured salaries of this year’s cast were revealed, and Aitch was the highest paid celeb, banking £250,000, with Angry Ginge will pocket just £100,000 this year.

While these numbers are huge, it is far from the most ITV are thought to have shelled out to get a big star in the I’m A Celeb camp. Some figures have been estimated to be over £1 million, making Aitch and Angry Ginge’s fees look tiny. Here are the reportedly highest paid celebs and their fees…

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Coleen Rooney

Coleen is thought to be one of the highest paid celebs in the show’s history, having banked a rumoured £1.5 million. She appeared on I’m A Celeb in 2024, and she reached the final, ultimately coming second to McFly’s Danny Jones.

Her enormous fee was thought to be the result of having made so many headlines two years prior, when she claimed fellow WAG Rebekah Vardy had leaked posts from Coleen’s private Instagram account to the press, a move for which she was later dubbed ‘Wagatha Christie’. Rebekah sued Coleen for libel, but the case was dismissed by the courts.

Nigel Farage

The Reform politician also allegedly took home £1.5 million for his I’m A Celeb stint. In 2023, he came third, behind Sam Thompson and Tony Bellew.

Nigel’s time on the show was controversial, as he wasn’t shy about sharing his political beliefs with his campmates, causing arguments with some, particularly Fred Sirieix and Nella Rose.

When he was first introduced, he said: “I’m known for politics, for Brexit, and I’m a hero to some people and an absolute villain to millions. In the jungle you’re going to find the real me. You might like me more, you might dislike me more, but you will at least find out.”

Noel Edmonds

The Deal or No Deal star was the programme’s highest paid participant for five years, having entered the Jungle in 2018 with a fee of £600k. As he was only in the show for nine days, that meant he earned over £66k a day.

After leaving, Noel expressed his disappointment in not being on the show for longer. “I was hoping to hang around for a little bit longer,” he said. “I hadn’t even actually got into my stride.”

Boy George

Boy George, who joined the show in 2022, was said to be pocketing £800k initially, but that figure dropped to £500k. He addressed his pay, pledging to be worth every penny the ITV producers spent on him. He said: “I feel like I’ve been paid well for it so I’m going to be as Boy George as I can.”

Harry Redknapp

Eventual winner Harry Redknapp was also reportedly paid £500k for his time on the show. At the time, it was rumoured that the BBC were courting him for Strictly Come Dancing, and Harry later revealed that the I’m A Celeb fee was double that which was offered by the BBC. He said: “What happened was I’m a Celebrity came and offered me twice as much money so I went there instead!”

Caitlyn Jenner

The year after Harry went on the show, former Olympian Caitlyn Jenner also took away £500k for her time on the show. This huge fee was even addressed on the show, with Dec saying: “We’ve got reality TV royalty Caitlyn Jenner. Most people come into the jungle to lose a few pounds…” Ant then playfully added: “But she’s going to be gaining 500,000 of them according to the papers.”

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Renate Reinsve is the new face of Scandinavia: depression with a smile. Standing 5 feet 10 with open, friendly features, the Norwegian talent has a grin that makes her appear at once like an endearing everywoman and a large, unpredictable child. Reinsve zoomed to international acclaim with her Cannes-winning performance in Joachim Trier’s 2021 “The Worst Person in the World,” a dramedy tailor-made to her lanky, likable style of self-loathing. Now, Trier has written his muse another showcase, “Sentimental Value,” where Reinsve plays an emotionally avoidant theater actor who bounces along in pretty much the same bittersweet key.

“Sentimental Value” gets misty about a few things — families, filmmaking, real estate — all while circling a handsome Oslo house where the Borg clan has lived for four generations. It’s a dream home with red trim on the window frames and pink roses in the yard. Yet, sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) aren’t fighting to keep it, perhaps due to memories of their parents’ hostile divorce or maybe because they don’t want to deal with their estranged father, Gustav (Stellan Skarsgård, wonderful), who grew up there himself and still owns the place, even though he’s moved to Sweden.

Trier opens the film with a symbolically laden camera pan across Oslo that ends on a cemetery. He wants to make sure we understand that while Norway looks idyllic to outsiders jealous that all four Scandinavian countries rank among the globe’s happiest, it can still be as gloomy as during the era of Henrik Ibsen.

More impressively, Trier shifts to a fabulous, time-bending historical montage of the house itself over the century-plus it’s belonged to the Borgs. There’s a crack in it that seems to represent the fissures in the family, the flaws in their facade. Over these images, Reinsve’s Nora recites a 6th-grade school essay she wrote about her deep identification with her childhood home. Having grown up to become terrified of intimacy, today she’s more like a detached garage.

Nora and Agnes were young when their father, a modestly well-regarded art-house filmmaker, decamped to a different country. At a retrospective of his work, Gustav refers to his crew as his “family,” which would irritate his kids if they’d bothered to attend. Agnes, a former child actor, might note that she, too, deserves some credit. Played in her youth by the compelling Ida Atlanta Kyllingmark Giertsen, Agnes was fantastic in the final shot of Gustav’s masterpiece and Trier takes a teasingly long time to suggest why she retired from the business decades ago, while her older sister keeps hammering at it.

Gustav hasn’t made a picture in 15 years. He’s in that liminal state of renown that I’m guessing Trier has encountered many times: a faded director who’s burned through his money and clout, but still keeps a tuxedo just in case he makes it back to Cannes. Like Reinsve’s Nora, Gustav acts younger than his age and is at his most charming in small doses, particularly with strangers. Trier and his longtime co-writer Eskil Vogt have made him a tad delusional, someone who wouldn’t instantly recognize his graying reflection in a mirror. Sitting down at a cafe with Nora, Gustav jokes that the waitress thinks that they’re a couple on a date. (She almost certainly doesn’t.)

But the tension between Gustav and Nora is real, if blurry. He’s invited her to coffee not as father and daughter, but as a has-been angling to cast Nora as the lead of his next film, which he claims he’s written for her. His script climaxes with a nod to the day his own mother, Karin (Vilde Søyland), died by suicide in their house back when he was just a towheaded boy of 7. Furthering the sickly mojo, Gustav wants to stage his version of the hanging in the very room where it happened.

His awkward pitch is a terrific scene. Gustav and Nora are stiff with each other, both anxious to prove they don’t need the other’s help. But Trier suggests, somewhat mystically, that Gustav has an insight into his daughter’s gloom that making the movie will help them understand. Both would rather express themselves through art than confess how they feel.

When Gustav offers his daughter career advice, it comes off like an insult. She’s miffed when her dad claims his small indie would be her big break. Doesn’t he know she’d be doing him the favor? She’s the lead of Oslo’s National Theatre with enough of a social media following to get the film financed. (With 10 production companies listed in the credits of this very film, Trier himself could probably calculate Nora’s worth to the krone.)

But Gustav also has a lucky encounter with a dewy Hollywood starlet named Rachel (Elle Fanning) who sees him as an old-world bulldog who can give her resume some class. Frustrated by her coterie of assistants glued to their cellphones, Rachel gazes at him with the glowy admiration he can’t get from his own girls. Their dynamic proves to be just as complex as if they were blood-related. If Rachel makes his film, she’ll become a combo platter of his mother, his daughter, his protégée and his cash cow. Nora merely merits the financing for a low-budget Euro drama; Rachel can make it a major Netflix production (something “Sentimental Value” most adamantly is not).

It takes money to make a movie. Trier’s itchiness to get into that unsentimental fact isn’t fully scratched. He seems very aware that the audience for his kind of niche hit wants to sniffle at delicate emotions. When Gustav’s longtime producer Michael (Jesper Christensen) advises him to keep making films “his way” — as in antiquated — or when Gustav takes a swipe at Nora’s career as “old plays for old people,” the frustration in those lines, those doubts whether to stay the course or chase modernity, makes you curious if Trier himself is feeling a bit hemmed in.

There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.

I’ve got no evidence for Trier’s restlessness other than an observation that “Sentimental Value” is most vibrant when the dialogue is snide and the visuals are snappy. There’s a stunning image of Gustav, Nora and Agnes’ faces melting together that doesn’t match a single other frame of the movie, but I’m awful glad cinematographer Kasper Tuxen Andersen got it in there.

The film never quite settles on a theme, shifting from the relationship between Nora and Agnes, Nora and Gustav, and Gustav and Rachel like a gambler spreading their bets, hoping one of those moments will earn a tear. Nora herself gets lost in the shuffle. Is she jealous of her father’s attention to Rachel? Does she care about her married lover who pops up to expose her issues? Does she even like acting?

Reinsve’s skyrocketing career is Trier’s most successful wager and he gives her enough crying scenes to earn an Oscar nomination. Skarsgård is certainly getting one too. But Fanning delivers the best performance in the film. She’s not only hiding depression under a smile, she’s layering Rachel’s megawatt charisma under her eagerness to please, allowing her insecurity at being Gustav’s second pick to poke through in rehearsals where she’s almost — but not quite — up to the task.

Rachel could have been some Hollywood cliché, but Fanning keeps us rooting for this golden girl who hopes she’ll be taken seriously by playing a Nordic depressive. Eventually, she slaps on a silly Norwegian accent in desperation and wills herself to cry in character. And when she does, Fanning has calibrated her sobs to have a hint of hamminess. It’s a marvelous detail that makes this whole type of movie look a little forced.