success

With the biggest global opening weekend in history, “Spider-Man: Brand New Day” is cleaning up at the box office in a manner that left “The Odyssey” spitting sand. (Relatively speaking; “The Odyssey” also had a strong worldwide debut and is on track to become the third R-rated film to hit the billion-dollar mark.)

But while Christopher Nolan’s vision of a nearly 3,000–year–old epic poem has received, with the exception of a few less-than–impressed classics experts and the usual “replacement theory” nut jobs, waves of gratitude for helping revitalize cinema, the success of “Spider-Man” has many of these same people scratching their heads.

Certainly the reviews have been mixed — some find the narrative streamlined and personal with Tom Holland giving his best-ever performance; others declare “Brand New Day” to be overstuffed with franchise teasers and/or suggest that, at 30, Holland is getting a bit old for the job.

So how is it, pundits wondered, that Spidey has vanquished the ultimate supervillain: superhero fatigue.

It’s simple really: love.

There’s a reason “Love Actually” featured a kid in Spider-Man face paint, as opposed to a Superman cape. People, especially kids (and the adults they will become), love Spider-Man with an affection that is deep and true. Unlike so many other superheroes, Peter Parker is one of us. He’s not a super-scientist or a god or an extraterrestrial or a one-percenter able to develop all manner of nifty crime-fighting gadgetry. He’s a kid who, having been accidentally endowed with superpowers that do not disfigure him, physically or emotionally (no Red Room trauma, inner rage monster, centurylong life span), remains a kid with an adolescent’s delight in all he can now do.

He’s funny, sweet and, having been raised right (in this latest iteration by Marisa Tomei’s hip and humanitarian Aunt May), extremely polite, even as he takes down all the bad guys — a cheeky bright spot in a landscape super-peopled almost exclusively with adults and all their existential whinging and regretful brooding.

But our feelings for the character is not the only, or most important, love story helping to drive the success of “Brand New Day.” Perhaps because they are closest in age to Romeo and Juliet, the complicated courtship of Peter and MJ (or Gwen), has always been the best built-in love story in the multiverse. The actors playing those roles — Tobey Maguire and Kirsten Dunst, Andrew Garfield and Emma Stone — invariably became romantic partners so when the series was revived with Holland, with Zendaya as MJ, producer Amy Pascal warned them not to date.

Mercifully, they did not listen and in Holland and Zendaya, “Brand New Day” has a real-life beloved couple (recently married) playing a fictional beloved couple, now divided by the memory-erasing spell of the previous film, “Spider-Man: No Way Home.”

Screenwriters Chris McKenna and Erik Sommers’ decision to have Peter Parker wiped from everyone’s memory, including MJ‘s and Ned’s (Jacob Batalon), was a brilliant twist that not only saved us from “Spider-Man Goes to College” but also injected a star-crossed romantic pathos that Shakespeare would envy.

I can’t have been the only person who bought an opening weekend ticket for the sole purpose of finding out if/when/how Peter and MJ would find their way back to each other.

This has been spoiled elsewhere, but we’ll leave it at they do and they don’t. Although the more jaded among us might see the ambiguity as a nakedly emotional hook for future films, including “Avengers: Doomsday,” the opportunity for both Peter and MJ to mature a bit, independent of each other, feels thematically essential and more than a little revolutionary. It certainly sparks an intriguing question about the nature of romantic love, something too often associated with “being saved” in Marvel, and many other, films.

Seeing the famously private couple playfully interact with each other and Batalon during the press tour of “Brand New Day” only amped up the already fevered anticipation of how the trio will regroup as surely they must — the love Peter has for Ned is just as strong and singular as his love for MJ. The fact that we’ve watched these actors grow up before our eyes (Zendaya and Batalon were 19 and Holland 20 when they filmed “Spider-Man: Homecoming” in 2016) makes it even more of a family affair — of course we want to know what happens to Spidey and his gang!

Given the extraordinary success of “Brand New Day,” on top of “The Odyssey,” there is a very good chance that Hollywood, in its infinite and historically flawed wisdom, will decide that superhero fatigue is a myth and that what audiences really want is spectacle. So this is a plea for those in charge to tear their eyes away from the box office returns and look at the film itself.

Yes, “Brand New Day” is full of terrific web-slinging and swinging scenes (albeit ones in which Spider-Man gets even more beat up than usual), but its power is emotional not spectacular, built more on dialogue than special effects.

Holland’s Spider-Man relates more personally to everyone — friends and foes — than any other superhero; his scenes with the Punisher (Jon Bernthal), Bruce Banner (Mark Ruffalo), Det. DeWolff (Liza Colón-Zayas) and, at the end, Jean Grey (Sadie Sink) are always less about exposition or explosive action than character revelation and connection.

He cares and so do we.

That’s how it works in love stories and, as “Brand New Day” is proving, love stories are pretty hard to beat.

Madison Square Garden. Decades before the July 3 wedding of Taylor Swift and Travis Kelce catapulted the venue into a new category of global prominence, the Manhattan arena loomed large as a symbol of success.

For the select list of comedians who have sold out the place, filling the arena is considered a pinnacle of achievement. It’s a triumph so encompassing that it inspired the central plot of the final season of “Hacks,” as Jean Smart’s veteran stand-up Deborah Vance demonstrates she’ll do just about anything to sell out the Garden — including putting herself in a glass cube above the Las Vegas Strip and almost perishing up there. “She needs a legacy-defining win, something that’s going to be the inarguable lead to her obituary,” says Paul W. Downs during a Zoom call with his “Hacks” co-creators Lucia Aniello and Jen Statsky.

“With Deborah, she likes to go big and Madison Square Garden is big,” adds Statsky. “It’s a testament to what an iconic place it is because we were like, ‘There’s one option here and it’s MSG.’”

So what does it really take to sell out MSG? Back in the day, a comedian could go on “The Tonight Show Starring Johnny Carson” and become nationally known. Now, YouTube subscribers and TikTok followers are part of the equation, along with specials on Netflix, HBO and Hulu. The road to MSG is a long one, with few shortcuts. It usually begins with years of playing club dates, then theaters and larger arenas, creating demand. But the payoff is substantial: With 15,000 to 20,000 seats depending on the configuration, a single night can gross up to $3 million in ticket sales. Then, a streaming platform might fork over $5 million to $20 million for exclusive taped performance rights. Plus, there’s the unquantifiable: “Venues often come and go,” says Aniello, “but Madison Square Garden feels like forever. The name itself has remained protected as this kind of sacred thing.”

Only about 20 comedians have ever achieved the milestone, including the likes of Eddie Murphy, Steve Martin, Chris Rock and Amy Schumer — the only woman in this elite group. The Envelope spoke to six of them to understand what it takes and how it feels to reach comedy’s Promised Land.

Max Amini

(Frazer Harrison / Getty Images)

Number of sellouts: 1
Date: Feb. 15, 2026
Max Amini Tour

“No one sells out Madison Square Garden alone. Behind every artist is an audience that believed before the rest of the world caught on, a family that sacrificed, a team that worked tirelessly. I’m incredibly proud of my team because they believed in this vision long before Madison Square Garden was even a conversation. One of the greatest lessons I’ve learned is that success is never built by one person. It’s built by people who trust one another, challenge one another, and refuse to let each other settle for less than excellence.”

Nate Bargatze

(Jason Kempin / Getty Images)

Number of sellouts: 3
Dates: Sept. 26 and 27 (two shows), 2025
Big Dumb Eyes World Tour

“I believed I could make a career out of stand-up comedy when I was in my 20s, even when it sounded like a crazy thing to do. I was just hoping somebody would come to the show. You spend so many years doing clubs it’s hard to picture anything bigger than that, until it happens. … Selling out Madison Square Garden, let alone selling it out three times, wasn’t something I ever expected, but it was the result of believing in stand-up, believing people still want to get out of the house and laugh together, and believing in hard work each and every day.”

Dane Cook

(Jesse Grant / Getty Images)

Number of sellouts: 3
Dates: Nov. 12, 2006 (two shows) and Nov. 9, 2009
Rough Around the Edges Tour, Isolated Incident Tour

“When I think of history and legendary artists selling out, it’s the greatest honor of my career. To get to experience that even once, it’s an achievement that forever changes how your career is viewed. I’m standing backstage in the hallway looking at all the photos, it’s like getting an energy massage, realizing the history of this incredible edifice. In my quiet moment pre-show, realizing I’m in rare air, I wanted to enjoy it as much as possible. It is a privilege. When I let the crowd know we got there together, I can still feel the energy in my chest.”

Jim Gaffigan

(Jamie McCarthy / Getty Images for Bob Woodruff Foundation)

Number of sellouts: 1
Date: Dec. 12, 2015
Contagious Tour

“I never thought selling out MSG was a possibility. When I started stand-up it was an unrealistic goal for any comedian. Having lived in NYC for three decades, MSG had exceeded its legendary status for me. MSG is where I brought my kids to see the Knicks and Rangers play. It’s where I saw Bruce Springsteen. Pulling off a sellout seemed like a gamble but worth it. There is something special about an audience seeing you at MSG. I think people coming to the show understand there is a special-event status to a show at MSG.”

Matt Rife

(Ethan Miller / Getty Images)

Number of sellouts: 2
Dates: July 18 and 19, 2025
Stay Golden World Tour

“MSG is the top of the mountain. It symbolizes the pinnacle of ticket-selling success as a comedian. If you can sell out the world’s most famous arena, in the toughest city in America … you’ve made it. For me it was beyond a dream come true. Growing up I always thought selling out comedy clubs was the ceiling for success for stand-up comedians. I never thought I’d be one of them. To not only sell it out twice, but to be the youngest comedian to ever sell it out … it’s still hard to comprehend. It feels like a literal dream, that I can’t remember if it actually happened or not.”

Andrew Schulz

(Bryan Bedder / Getty Images for Food Bank for NYC)

Number of sellouts: 2
Dates: May 3 and 4, 2024
The Life Tour

“I am born and raised in NYC. My dad had so much respect for MSG he would make me wear a collared shirt whenever we stepped in that building. This place had holy significance to me before I knew I wanted to be a comic. Once I decided to make comedy my life I had one goal. It was to sell out MSG … wearing a collared shirt of course. I thought about walking onto that stage every single day for 17 years straight. And then it happened. Dreams do come true.”

YOU could soon be able to grab a Greggs sausage roll when your on holiday.

The chain recently opened a store at Tenerife South Airport in Spain‘s Canary Islands and is eyeing up opening more spots abroad.

Greggs CEO Roisin Currie told Reuters: “If (Tenerife) is ​positive then ⁠it will be a sort of look to see where else could this go in the future.

“It ‌is ⁠only one shop, so far though it’s hit every sales hurdle.”

Inside the Tenerife South Airport store – which is in the departures side of the airport – travellers can find Greggs’ core menu.

There are also some items tailored to the local market such as Spanish omelette breakfast rolls and blueberry muffins.

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At the time of opening, Currie said: “Tenerife South Airport is a hub for millions of UK and international passengers each year, making it the ideal location to test spreading our wings in an overseas setting.

“It’s an exciting milestone for Greggs as we bring a slice of home to the Canaries, and we’re confident our great-value offering will resonate just as well under the Spanish sun as it does on the UK high street.”

The popular airport handles 13million passengers a year, with around 50 per cent of them being from the UK.

Taking to Reddit, Greggs fans shared their thoughts on the new store.

One person said: “I won’t be satisfied until we have a Greggs in Paris.”

Another person added: “Come to Canada already. Tim Hortons exists in the UK, return the favour.”

Greggs did use to have stores in Belgium, but they were closed in 2008.

Cashea ad on the Nasdaq tower. Photo: Romina Hendlin, Cashea

Cashea just announced it raised another $60m for its Series B round, led by FinSight Ventures, bringing its total capital raised (all equity) to $100m in 2026 alone. Another amazing fit for the already impressive Venezuelan BNPL king. In the same week, we knew that Colombia’s Grupo Nutresa acquired ice cream manufacturer Tío Rico.

The big question after these two announcements is whether Venezuela has finally become investable. Does the potential return of the capacity to do business, to invest in the country, outweigh its risks? In the long and medium term, it does, but in the short run it still needs a lot of work. 

Venezuela remains very dependent on oil. This sector is held closely by the State, and I speculate that, after the US took over the reins of the fuel commercial activity, a bigger size of the GDP is concentrated in oil and gas than in previous years. According to Financial Times, this year the US has collected about $13bn since January in oil revenue, while in 2025 and 2024 PDVSA reported collecting $14.7bn and $17.5bn, respectively. So we could expect at least $20bn in oil revenue by the end of the year (+30%, not bad). Until that income is divested in the economy in a hopefully efficient manner and trickles down to the sectors that directly impact the end consumer, the rest of the country’s value chains remain constrained.

So, considering we cannot count on oil yet, the rest of the economy will need to do some legwork that involves both the efforts of the public sector and the private sector to attract international investors. The headlines about Chasea and Tío Rico might suggest that this is working. However, conditions haven’t changed much since before the economic devastation.

The exchange rate gap appears to have narrowed, but recent monthly inflation figures seem to have reversed the gains in that front from previous months (6.3% in May, 13.8% in June, according to the Central Bank BCV). The biggest indicator right now to measure business sentiment, according to Guillermo Arcay (and I agree with him), is the BVC index, which has fallen from its all-time high of 7,331.21 points in March to around 5,170–5,210 points, a 29% decline that indicates the euphoria and frenzied sentiment have subsided.

First, let’s dissect the “whys” of the two major deals that have put Venezuela on a better side of the headlines after the terrible devastation of June 24th. Because in spite of the earthquakes, there were still a lot of issues that international investors need to be clearer about before they swarm the market and become part of the eventual recovery.

$100M por el buche

Investment rounds are usually carefully considered and longer to close than they appear.

Cashea was already on a path to raise an enormous amount of capital; even in a similar economic scenario without the political change and the earthquakes, they would still have raised a huge amount in 2026. However, how much upside could this new macroeconomic scenario have contributed to the rounds reaching $100 million? 

The interest of these venture capital firms (Finsight Ventures, Spice Expeditions, and others) that were already investing in emerging markets stemmed more from the company itself than from the country’s promise of returning to greatness. It’s a bet on the jockey, not the horse. The reason for continuing to invest in the only relevant player in Venezuela’s BNPL sector, which Cashea basically revived by itself, is its operational efficiency, innovation genes, and discipline. They are not simply a first-mover: they did build a business to last. They make it seem easy, though it was certainly not.

The other major news came from Grupo Nutresa’s acquisition of Tio Rico, a brand loved by Venezuelans (remember Bati Bati?) and the main competitor of Helados Efe, owned by Empresas Polar. 

Sold by Mack (an automobile company) for $30m according to familiar sources reported by Bloomberg, this announcement looks more like a typical baron play of buying equity in a once promising business at the price of “vacas flacas”.

Two months ago, Grupo Nutresa also bought another ice-cream-making company in Colombia called Mimo, for about $12-15m, which doesn’t sound so bad, except this company represents only 5.8% of market share in that country, while Tío Rico could easily possess 50% of the market share in Venezuela. Just double the price for 10 times the share. So in this case it was an equity play by the Gillinsky family, which controls Nutresa. They are fulfilling their prophecy of “dumping” the market with Colombian products, acquiring cheap equity stakes in major companies and not investing a single dime in CAPEX, waiting to see how things play out.

I’ve even seen the appetite for opportunities in both tech and more traditional sectors by helping international investors be exposed to those deals. The appetite is there, but the conditions aren’t right just yet; investors still need to trust the public sector before any major CAPEX investment is played out, and private companies need to demonstrate professionalism, show a strategic mindset to achieve operational efficiency, and prove their commitment to growth, which is so needed to calm the nerves of investing in Venezuela.

Low prices, equity plays in real estate, and quick wins are not enough to Make Venezuela Prosperous Again. The private sector needs to be open to innovation, be more transparent, and appeal to a language that might be unknown to them but common to foreign capital.

Entering a season in which they are favored to win the Super Bowl, the Rams have added uniforms that pay homage to past glory.

On Thursday night, during a fan event at the YouTube Theater in Inglewood, the Rams unveiled two alternate ensembles that commemorate their 1951 NFL championship team and their storied defensive front of the 1960s and ‘70s.

The “Classic Sol” uniform features a yellow jersey that honors the 75th anniversary of the Rams’ title. The “Fearsome White” uniform harks to the storied Fearsome Foursome defensive line that featured Deacon Jones, Merlin Olsen, Lamar Lundy and Rosey Grier.

Rams defensive players (from left) Byron Young, Kobie Turner, Braden Fiske and Myles Garrett show off the Rams’ new “Fearsome White” uniforms.

(Los Angeles Rams)

Kathryn Kai-ling Frederick, the Rams’ chief marketing officer, said the uniforms have been in the works for two years and were “heavily requested” by fans.

SoFi Stadium will be the site of Super Bowl LXI, and the Rams made several blockbuster offseason moves to increase their chances of playing in it.

“Being able to not only inspire fans who’ve been asking for this, but also to educate modern L.A. Rams fans about era after era of championship DNA and success can only inspire us as we come back and host the Super Bowl,” Frederick said this week.

Rams defensive end Kobie Turner wears the Rams new “Classic Sol” uniform.

(Los Angeles Rams)

The Rams’ so-called closet now includes five uniforms, including two recently updated uniform combinations — one that was introduced in 2020, the other in 2021 — a black “Midnite Mode” rivalries uniform that debuted last season and the two new alternate uniforms.

The Rams will wear the “Classic Sol” uniform for the home opener against the New York Giants on “Monday Night Football” on Sept. 21, and for their Dec. 3 game against the Kansas City Chiefs on “Thursday Night Football.”

The Fearsome White uniform will be worn for the Nov. 25 “Thanksgiving Eve” game against the Green Bay Packers.

“The entire game experience is all going to be predicated around what we’re wearing on the field,” said Cory Befort, the Rams’ executive creative director, adding that the environment will be “an immersive world for fans to experience for each one of these uniform designations on the field.”

Along with the yellow jersey, the “Classic Sol” jersey includes era-specific number design and three blue shoulder stripes.

The “Fearsome White” uniform features a helmet that includes white horns and a white face mask.

Rams wide receiver Puka Nacua shows off the team’s new “Classic Sol” uniform.

(Los Angeles Rams)

“To see the Los Angeles Rams uniforms that we wore 60 years ago on the playing field now, reminds me of the importance of being a team player,” Grier said in a statement released by the Rams. “We selflessly prioritized the team’s collective success over individual stats or personal glory.

“As strong teammates, we supported each other through the inevitable ups and downs of the NFL season. Whether we had those uniforms on or off, we were accountable teammates, trusting each other to do our job flawlessly.”

Rams offensive lineman Steve Avila wears the Rams’ new “Fearsome White” uniform.

(Los Angeles Rams)

So what is the project Codina sees at West Ham?

Guarino, who led Juventus to four successive Serie A titles, took over from Rehanne Skinner at West Ham midway through last season.

She stated in January that “step by step” they would improve their style of play, but it was clear that organisation and a focus on defensive stability was the priority.

But that could change this season.

“Honestly, I think that we’re going to see a West Ham that the fans will be proud of, and that’s the main thing for me,” said Codina.

“It will be a recognisable West Ham – a team that can play football, and that will try to have the ball as much as possible.

“With Rita, you could see their main characteristic was to defend, but I think that this season we’re going to try to improve on the ball.”

Codina says she already feels at home, having begun pre-season training this week, but it helps that she is still living in London.

The centre-back moved to England in 2023 after nine years at Barcelona, where she progressed from the club’s academy and into the first team.

Now she wants to give back to the community and is already giving up her time to help West Ham’s foundation work with young children in east London.

“I’m enjoying the life here. I love to learn new cultures. London has something special. I’m trying to enjoy it as much as possible,” said Codina.

“Football gives me this opportunity and I’m going to try to use it as good as possible.

“I tell [the children] that it’s not only about winning. It’s not only about going to WSL. It’s not only playing for the national team. It’s all the other things.”

EAST RUTHERFORD, N.J. — The largest, longest and most complex World Cup in history came to a close Sunday, with Spain beating Argentina 1-0 in extra time. But FIFA president Gianni Infantino didn’t bother waiting for the final result before passing judgment on the tournament.

“By all means this World Cup has exceeded all expectations,” he said during a reception at Trump Tower two days before the final kicked off. “This has not just been the greatest FIFA World Cup of all time. It is the greatest human social and cultural event that mankind has ever witnessed.”

No, but it was pretty good, with FIFA emerging as the World Cup’s biggest winner, allowing Infantino to reportedly shore up support within the organization despite a number of norm-shattering decisions during the tournament.

Attendance topped 6.8 million, a World Cup record averaging more than 65,000 fans a game. FIFA estimated the cumulative global TV audience topped 5 billion people across linear television, digital streaming and social platforms while more than 1.8 billion people were expected to watch the final, according to the BusinessStats website, making it the most-viewed sporting event in history.

Argentina goalkeeper Emiliano Martínez reacts as Spain’s Ferran Torres scores during the World Cup final in East Rutherford, N.J., on Sunday.

(Julio Cortez / Ap Photo/julio Cortez)

Exact figures won’t be known for a few days.

Revenue for the four-year World Cup cycle is anticipated to reach $13 billion, making it the first $10-billion sporting event in history — bolstering Infantino’s case for reelection as FIFA’s president next year.

The final was among the most expensive U.S. sporting events of all time, with the get-in asking price for a single ticket on the secondary market peaking at about $7,400 three hours before kickoff and the average purchase price topping $10,800. One seat sold for $32,502, which is either a good thing or a bad thing, depending on whether you’re buying the ticket or selling it.

Inglewood’s SoFi Stadium hosted eight games, including two of the U.S. team’s three group-stage games and Spain’s quarterfinal win over Belgium. The matches had a total attendance of 561,656 people, about 99.6% of capacity — that’s more than each of the first three World Cups drew for the entire tournaments.

U.S. and Paraguay oversized flags are featured on the pitch before a World Cup group stage match at SoFi Stadium on June 12.

(Allen J. Schaben/Los Angeles Times)

Weather disrupted just a handful of matches, not the dozen or more that were feared, and the logistical nightmares of staging the 39-day tournament across three countries for the first time — the U.S. co-hosted the event with Mexico and Canada — never materialized. The expansion to 48 teams and 104 games, meanwhile, made room for a number of surprises that gave the tournament its life and sparkle.

Tiny Cape Verde, the second-smallest country to qualify for a World Cup, made a memorable debut, playing Spain to a scoreless draw in its opener, then taking Argentina to extra time before falling in the cruelest way possible, on an own goal, in the knockout rounds.

Norway, playing in the tournament for the first time this century, made it to the quarterfinals behind its hulking striker Erling Haaland, who quickly became a fan favorite while the team’s supporters saw their synchronized “Viking Row” celebration go viral.

Canada and Egypt both won World Cup games for the first time, advancing to the Round of 16, with Egypt becoming one of nine African teams to make it to the knockout rounds. Of FIFA’s six continental confederations, only UEFA, representing Europe, did better than Africa, sending 13 teams beyond the group stage.

Argentina’s Lionel Messi erased any doubt that he’s the greatest player in World Cup history — if not soccer history — by willing his team to the final and winning the Silver Ball, runner-up for the tournament’s most outstanding player. On Sunday, Messi was thwarted in his attempt to win a second straight World Cup and third Golden Ball, but he walked off the field at MetLife Stadium as only the second man to play in three World Cup finals.

And he finished his record-setting sixth tournament as the all-time leader in games (34), assists (12) and goal contributions (33), more than standing the test of time. Two of the players Spain started against Argentina in the final hadn’t even been born when Messi, 39, made his World Cup debut in 2006.

But if those were the highlights, there were also lowlights.

This was by far the most political World Cup in history and the first in which a host country, the U.S., was actively at war with a participating one, Iran.

Iran defender Ramin Rezaeian celebrates with teammates after scoring during a World Cup match against New Zealand at SoFi Stadium on June 15.

(Allen J. Schaben/Los Angeles Times)

That had all kinds of ramifications, starting with the State Department’s refusal to grant visas to more than a dozen members of Iran’s official delegation. Iran was also forced to move its base camp from Tucson to Tijuana, and though it played all its games in the U.S., it was denied permission to remain in the country after each match, an option granted to every other team.

Despite the harassment, Iran did not lose a game, playing to three draws despite having three goals — any of which would have sent it to the knockout rounds — erased by video reviews.

The State Department also denied entry to Omar Abdulkadir Artan, a decorated Somali referee, turning him away at Miami International Airport in June, citing “vetting concerns.” Artan, named Africa’s top referee last year, had a valid entry visa and was selected by FIFA to work the tournament last April.

Iran wasn’t the only team to have its World Cup ended early by technology. Although the video assistant referee (VAR) system was adopted primarily to alert the head official to potential clear and obvious errors or serious missed incidents, in this tournament it became intrusive, eliminating Croatia on evidence from a NASA-level ball sensor and costing Egypt what would have been a game-winning score for a perceived foul that took place nearly 100 yards from the goal.

Coaches and players are still allowed to make mistakes, but the technology now has referees making calls on things that are imperceptible to the naked eye, something critics say has removed any sense of judgment or nuance, robbing the game of much of its drama.

“Football is an art. That’s why we love it,” said Christina Unkel, a former FIFA referee and a rules of the game analyst for multiple TV networks. “When you do pursue black and white — objectivity is what they’re trying to get to, and I get it; they want to eliminate as much subjectivity as possible — what everyone is hating is this perfection thing.”

Then there was the official’s call that President Trump took credit for overruling from 2,800 miles away.

When striker Folarin Balogun, the U.S. team’s leading scorer, was given a red card in the second half of his team’s Round of 32 win over Bosnia-Herzegovina, he was immediately suspended from the Americans’ next elimination game with Belgium. But Trump admitted he phoned Infantino three times, lobbying for the suspension to be rescinded.

U.S. forward Folarin Balogun stepped on Bosnia-Herzegovina defender Tarik Muharemovic’s foot during a World Cup match and received a red card at Levi’s Stadium on July 1.

(Robert Gauthier/Los Angeles Times)

Less than 30 hours before the Belgium game, the card penalty was suspended and Balogun was placed on one year’s probation by FIFA’s disciplinary committee, marking just the second time in World Cup history that a player who received a red card was allowed to play in his team’s next game. The international uproar that followed overwhelmed the U.S. team, which played its worst game of the tournament against Belgium.

“I could almost see within my teammates a bit of nerves,” Balogun said in an interview with CBS, “because it’s something that is so unique.”

Trump, who was booed as he saluted the national anthem Sunday from a luxury box before the game, was booed again by the crowd of 80,663 when he strode onto the pitch for the awards ceremony afterward.

UEFA, the FIFA confederation in which Belgium plays, protested the decision to let Balogun play, saying it had “crossed a red line.” It was far from the only bright red line Infantino crossed in this tournament. And some of that line crossing could set dangerous precedents.

Allowing the U.S. to turn away the Somali official and limit the Iranian team’s time in the country, for example, could embolden future World Cup hosts to do the same. What’s to stop Morocco, co-host of the 2030 tournament, from banning officials and players from Algeria over the two countries’ territorial dispute in the Western Sahara? And if a red card is handed to a player from Spain, another 2030 co-host, would the Spanish prime minister call Infantino to try to get it rescinded? Despite FIFA’s insistence that the disciplinary committee works independently, many believe Trump’s meddling worked.

But as always with FIFA, money speaks the loudest, so Infantino’s norm-shattering behavior over the last year doesn’t seem to have cost him much support. The Guardian reported last week that as the World Cup neared its successful conclusion, nearly 200 of FIFA’s 211 member associations are endorsing Infantino’s bid for reelection to a fourth term as president next March.

Which is why Spain wasn’t the only winner in this tournament.

DRAMA queen Michelle Keegan has seen her earnings shoot up to £5.4million a year.

The former Coronation Street star took a substantial amount of time off work last year after she became a first time mum with husband Mark Wright.

But new figures for her company, Rosia Productions, show that in the year up to September 2025, Michelle, 39, earned £1.4m more than the £4m she banked the previous year.

A financial expert said: “This shows Michelle still has massive earning power, and her career is going from strength to strength after 18 years on our TV.

“Despite taking time off to become a parent it hasn’t made any difference to her income and she’s still clearly one of the most in-demand stars of British TV”.

It comes after she enjoyed massive success with Harlen Coben’s Fool Me Once in 2024, which was one of Netflix‘s biggest hits, reaching the top spot around the globe.

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Inside Michelle Keegan’s shock swimsuit move after Wright family’s ‘thong-gate’

COR KEEGAN

Michelle Keegan shows off incredible body in skimpy swimsuit on spa day break

She announced in December 2024 she was having a baby.

In March daughter Palma Elizabeth Wright came into the world.

Her BBC series, Ten Pound Poms, was cancelled after two series last year, and her other big show, Sky comedy Brassic, also ended.

But last year Michelle also announced last year she was returning to ITV, where her career was launched on Corrie in 2008 playing Tina McIntyre.

She revealed she was making big budget thriller The Blame, starring opposite movie star Douglas Booth, 33, who plays her love interest and colleague.

The cop drama is due to air later this year with the actress playing DI Emma Crane in the six-parter. Booth plays DI Tom Radley.

Discussing coming back to work earlier this year, Michelle said: “Coming back to work after having a baby is quite daunting.

“The production were so supportive and I was so looked after and it was like working with family.”

A popular BBC crime drama filmed at breathtaking locations across Scotland is preparing for series 2 following its breakout 2025 debut

Filming has wrapped on the second series of a BBC crime drama set in Scotland.

An t-Eilean (The Island) is a Scottish-Gaelic drama that became one of the broadcaster’s most notable successes following its debut in 2025.

Praised for its atmospheric storytelling, breathtaking scenery and celebration of Scottish heritage, the series swiftly built a devoted following and earned widespread acclaim from viewers, who described it as “intriguing” and “compelling”.

Production on the new four-part series concluded this month, with cast and crew heading back to some of the same remote locations that helped shape the show’s distinctive character, reported Digital Spy.

Filming for the second series — which is anticipated to air in either late 2026 or early 2027 — took place across the Isles of Lewis and Harris in the Outer Hebrides, where dramatic coastlines, rugged moorland and isolated communities serve as the backdrop for a gripping new mystery.

If you can’t wait to catch the new storylines, the first series — starring Sorcha Groundsell as Detective Sergeant Kat Crichton — is available to stream now on BBC iPlayer, reports Glasgow Live.

Among the notable locations featured in the crime drama previously was Amhuinnsuidhe Castle, a Victorian estate nestled on Harris. The property served as the residence of the powerful Maclean family and may well feature once more as the storyline returns to the islands.

The village of Breasclete, which also featured prominently in the opening series, has likewise been utilised for filming the latest episodes.

An t-Eilean attracted widespread attention when it initially premiered in January 2025 as the BBC’s most costly Gaelic-language drama to date. On the IMDb website one fan highlighted the “compelling plot, good acting, stunning scenery” while another hailed the “beautiful scenery to match an intriguing series”.

The ambitious production was broadly regarded as a watershed moment for Gaelic television and received acclaim for introducing Scotland’s native language to a wider viewership.

Lead actress Sorcha told The Hollywood Reporter: “It is really an inspiring time and a necessary time to take ownership of our language and our culture and celebrate it for what it is, which is a source of incredible joy to so many people.”

Sorcha also acknowledged that performing in Gaelic on screen posed distinct difficulties, despite having acquired the language during childhood. “A lot of us were feeling some pressure about our levels of fluency,” she said.

“If anything, that makes it all the more important to participate in a show like this, because, if we maintain this feeling that our Gaelic is never good enough to use, no one will ever have a chance to use Gaelic.”

An t-Eilean/The Island series one is available to watch on BBC iPlayer

When David Jacks published a biography of Peter Asher in 2022, the veteran record producer and manager expressed surprise that anyone would have deemed his life worthy of the treatment. Four years later, he’s no less baffled to have become the subject of a new documentary, “Peter Asher: Everywhere Man,” directed by the filmmakers Dan Geller and Dayna Goldfine.

“It just seemed to me,” he says, “that I wouldn’t be that fascinating.”

The movie, in theaters now, argues otherwise: A child actor alongside his two younger sisters, the bespectacled Asher became an unlikely pop star during the British invasion as half of the duo Peter & Gordon, whose debut single, “A World Without Love” — written by Paul McCartney — hit No. 1 on Billboard’s Hot 100 in 1964. (McCartney offered the song to Asher while the Beatle was dating Asher’s sister Jane.) In 1968, the Beatles made Asher head of A&R at Apple Records, where he signed James Taylor; the two soon moved to Los Angeles and turned Taylor into music’s biggest heartthrob folkie.

Asher went on to shepherd Linda Ronstadt to stardom and to produce records by Diana Ross, Cher, Bonnie Raitt, Randy Newman, Neil Diamond and 10,000 Maniacs, among many others. And at 82 he’s still at it: Last year he produced Barbra Streisand’s latest duets album — they’re due to start work on a new Streisand solo LP, he says — and he’ll perform a show of his own July 19 at the Grammy Museum. Asher, who broke his leg in a recent fall, spoke about it all the other morning at his home in Malibu, where he walked into the kitchen using a cane before sitting down at a table set with pastries and several of the day’s newspapers.

What unites the jobs of musician, producer, executive, manager? What’s the through line?
Love of music and admiration for the people who do it. They’re very different jobs, and I came at them from very different perspectives. Record production was something I set out to do once I understood what a record producer did. Hire musicians much better than yourself and tell them what to do? That’s a cool job — how do I get in on that racket? Whereas I never had any ambitions to be a manager. It’s just that when James and I decided to go out on our own and try to put a career together, we didn’t know who we trusted to do it, so I kind of went, I’ll do it.

What’d you discover about the job of management?
The ingredients are common sense, not being a crook and having a great client.

Which is the hardest of those three?
The last one. I got to induct the first managers inducted into the Rock & Roll Hall of Fame: Brian Epstein and Andrew Loog Oldham — the Beatles and the Stones. That’s the hard part. The only thing that would tempt me back into management would be lightning striking for a third time — to see James, to see Linda, then to see somebody comparably brilliant, which I occasionally do. But usually they have a manager already.

What’s the last new act that knocked you out?
Ed Sheeran.

Was that just because he looks like he could be your grandson?
That certainly crossed my mind.

As a producer, your records helped define the sound of rock in the ’70s.
The so-called California sound.

Then the zeitgeist shifted.
One became aware of that. Pop music got very electronic, which I loved.

Was there a place for you in that style?
I didn’t consciously try to make records in that style because I don’t think I could have — not as well as they were being made anyway.

What’s a record from the early ’80s that made you think that?
“Sweet Dreams (Are Made of This).” I couldn’t do that.

Back to the ’70s: The doc is filled with pictures of James looking —
Like a movie star. With the cover of “JT,” I finally went all the way and said, “We’re doing the the glamour shot.” Then we did “Flag,” which everyone hated.

With the maritime flag. A truly perverse album cover.
I loved it. James loved it. Everyone thought we were crazy.

How crucial do you think James’ good looks were to his whole proposition?
I don’t know.

Oh, come on.
I really don’t. I mean, how would you gauge that? There’s probably girls who fell in love with him without listening to the record.

I think you just gauged it.
If he was ugly, would he be as big a star? Probably not.

(Evan Mulling / For The Times)

Same applies to Linda, right?
When I first saw Linda, it was stages of realization. Someone said to me, “You’ve got to go down and see this girl at the Bitter End.” I walk in and she’s singing so well — unspeakably good. Then she looks incredibly great — barefoot, short-shorts. Oh, my God, my heart. Then you meet her, and it turns out she’s a remarkably brilliant woman — extremely well read. You just kind of go, “All these things together — how can it be?” It’s the same thing talking about the Beatles: If you cast it like the Spice Girls, you still couldn’t have gotten four to fit together so perfectly.

Did you like the Spice Girls?
Terrific. “Tell me what you want / What you really, really want” — it’s a smash. And yet none of them are particularly good singers, which is kind of the point.

I went to an event not long ago where Paul McCartney played his new album for a small group of fans. It was fascinating to see the spell McCartney casts over people.
He’s had to get used to it — to admit to himself that he can’t meet people who aren’t amazed that they’re meeting him. Even as someone who’s known him off and on for a long time, you still get the wave of: Holy s—.

You’re still amazed to be around him?
Of course. I get it less — I’m ready for it. But you can’t pretend he’s not Paul McCartney. And he’s gotta live with that his whole life.

You grew up a member of the upper crust, I think it’s fair to say.
I don’t think we were that crusty. But upper, probably, yes.

I wondered how that situated you to live and work among artistic types.
If anything, the upper crust have more time to be artistic — less preoccupied with getting a job and making a living. But my parents worked incredibly hard — we weren’t upper crust in the sense of inherited wealth. My father was a doctor, my mother was a professor of music. But I never struggled, to be honest. I had a comfortable allowance, and then I went to school and worked hard. Everyone talks about sharing a flat with a million people, living on borrowed sandwiches — I skipped that phase.

Did that shape you in any meaningful way?
I don’t know. But I think when people do struggle, it becomes a meaningful part of their lives to get away from it. With someone like James, the struggle was a struggle with drugs. Now he says the worst thing about drugs is they’re a complete waste of time — you waste time doing nothing except looking for drugs. And I think that made him anxious to succeed and to be taken seriously.

I’m sure you saw the New York Times’ list of the 30 greatest living American songwriters.
You knew it was gonna be silly. Randy Newman, for God’s sake — you just cannot not include him.

No Neil Diamond either.
Insane.

And no Billy Joel.
[Shrugs].

How’s your health?
High blood pressure, high cholesterol, need to work out more — old man stuff. Other than that and a broken leg, great.

You’re OK with the cane?
It’s a considerable upgrade from the wheelchair. I like the cane — it’s kind of elegant.

What seems scarier: the body going or the mind going?
The mind going. And it is, slightly. I had a stroke, and bits of my brain aren’t quite working right. But compared to other people I know, I’m fine.

We’re at a moment when a lot of foundational rock ’n’ roll figures —
Are dying. It’s all the rage.

What’s it feel like to see your friends and colleagues go?
Better them than me.

Couple more for you: You managed Courtney Love for a spell.
I met her here in Malibu. I also managed Pamela Anderson for a while because she was a neighbor and asked me to help.

What, you put a shingle out?
“Manager for hire.” I’m trying to remember how I first met Courtney — I think Merck Mercuriadis was talking to her about publishing and Kurt stuff. I liked her. Very smart. I like smart women.

She’s easy to work with? Hard to work with?
Impossible to work with.

What’s James Taylor’s best album?
“JT,” maybe.

What’s Linda Ronstadt’s best album?
“Heart Like a Wheel.” With Linda, it’s unfair because they’re so radically different. How do you compare that to a mariachi record and then to Nelson Riddle?

Working with Riddle on those albums must have been a thrill.
He told us all these incredible stories about Frank Sinatra, who he didn’t like although he admired him enormously. It was John David Souther who originally suggested Nelson. Linda had tried doing the album a different way — did some versions with Jerry Wexler and it didn’t work out. So we had a meeting with Nelson: Would he consider doing a couple of arrangements for us? He went, “No.” We said, “What?” He said, “I’ll do an album, though.”

“A World Without Love” was one of eight songs to top the chart in 1964 with “love” in the title. What’s that say about pop music in the mid-’60s?
Same thing it says about pop music of all time: It’s either “I love you” or “She loves you” or “Why don’t you love me?” Weird Al pointed out to me that when you’re looking for a parody of a song, any song that has “love” in the title, substitute “lunch” and it’s funny. “A World Without Lunch” — I mean, who would want to live in such a place?

JAMIE and Rebekah Vardy’s success is sky-rocketing post Wagatha Christie – after the footballer’s new podcast proved a hit.

The audio series, Jamie Vardy’s Having A Party, launched hot on the heels of the couple’s ITV doc.  

The pair are understood to have signed a seven-figure deal with media giant Banijay for the series, which launched on June 9.

It’s now been revealed that the first episode has clocked up over 8.4million streams across podcast platforms in the first seven days. 

A source said: “Jamie and Becky could not be more happy with the success of their ITV show, and now the podcast figures have really given them a boost.

“It just serves to show they have a massive following.

“For the first week of a new podcast those numbers are fantastic. And, as for Banijay, they will be delighted with the initial return on their investment.”

The launch of the podcast, which will also feature regular guest appearances from Rebekah, 44, comes just a week after ITV aired three-part documentary The Vardys.

The show followed the family during his first year in Italy after he joined Serie A newcomers Cremonese. 

That series – which consolidated at more than 1.1 million viewers – has proved to be an even bigger hit on the network’s streaming service ITVX – behind only entertainment juggernauts I’m A Celebrity, Britain’s Got Talent and Celebrity Sabotage in the ratings. 

The next footballing destination for Leicester City legend Vardy – now 39 – is currently unknown.

However, the series and podcast illustrate his determination to build, with Rebekah, a powerful post-football brand – even whilst continuing to terrorise defences. 

Speaking of the podcast, Jamie said: “I am still an active player but having an opportunity to chat football and have a banter off the pitch is something that I am really looking forward to.”

The Vardys, which is available to watch now on ITVX, saw Rebekah opening up about the aftermath of the Wagatha Christie High Court trial with Coleen Rooney.

Rebekah said: “I’m living with the judgement the judge made but still to this day, I believe she was wrong.”

“People constantly go ‘well, it’s not going to change anything unless you apologise’ – but I’m not apologising for something I didn’t do.

“Like never, ever, going to apologise for something I didn’t do – it’s never going to happen. Hell will freeze over before I do that.

“It’s over, it’s done, I’m not going to carry on living in the past. I’m so f**king bored of it.”

Following the US and Israeli airstrikes on Iran in February, reverberations were felt globally. But is the world really safer and Iranians freer or has the war unleashed disastrous consequences?

Mehdi Hasan goes head to head with David Des Roches, retired colonel, former Pentagon official and professor at the National Defense University on the justifications and costs of the war – and whether President Donald Trump sent U.S. troops to fight Israel’s war.

Joining the discussion are:
Sanam Naraghi-Anderlini – founder and CEO of the International Civil Society Action Network
Mohammad Ali Shabani – Middle East scholar and Editor of Amwaj.media, a London-based news outlet focused on Iran, Iraq and Arabian Peninsula countries
Barak Seener – Associate Research Fellow, Henry Jackson Society

Recorded shortly before the announcement of a deal between the US and Iran.

TEDDY SWIMS says he is glad he was 30 years old before achieving global success – otherwise he could have gone off the rails.

The US star, whose single Lose Control sent his profile rocketing in 2023, said he doesn’t understand how younger stars like Benson Boone have coped with their early fame.

Teddy explained: “He’s crushing it at, like, 23. If they would have gave me that at 23, I would have sent that straight up my nose.

“Thank God it happened to me at the time it did and I’m capable of understanding this and taking it seriously.

“I’d have probably been so terrible about it. I’d have spun out immediately if I’d been given that at such a young age.”

Since then though, Teddy’s had further hits with The Door and Bad Dreams, but doesn’t let success get to his head.

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He said: “I try not to hang up my diamond or platinum records in my house, because I feel like I’ll just be looking at them and be like, ‘My best days are behind me,’ or something.

“So I try just to keep my head down and keep rocking.”

Asked if they’re in storage, he confessed: “A lot of them I’ve given to my family on Christmas. It saves me a little money there too.

“You know, my aunt’s got The Door gold record from a year ago.”

A real beauty spot, Maya

MAYA JAMA is clearly feline fine as she turns up the heat in a skimpy leopard-print mini dress.

The Love Island host sizzled as she fronted the dating show’s ITV2 spin-off Aftersun in the slinky number.

Maya, who previously dated grime star Stormzy, split from her Manchester City footballer boyfriend Ruben Dias in April after 18 months together.

But she clearly isn’t moping around, and has been on holiday in Ibiza, where she flaunted her curves in a tiny bikini.

Maya said of the break-up: “I’m an all-or-nothing girl, I don’t casually date, so yes, I will love loudly or not at all – and if it ends, it ends. I decided a long time ago not to base my life decisions on public opinions.”

Sounds like she’s got the dating game sussed.

JACK WHITEHALL has apologised to Becky Hill for calling her a “Wetherspoons Whitney”, claiming the pair “had a chuckle” about his dig – despite her writing diss track Daddy’s Range Rover about him.

I revealed last month how Becky has penned the song all about him making her the butt of a joke while he hosted the 2024 Brits.

Jack says: “I think my biggest surprise is it’s taken so long for some- one to write a diss track about me. I apologised when I saw her.”

Becky doesn’t sound like she sees the funny side, however – blasting the “privately educated nepo baby”.

Jesy’s hol of a look

LITTLE MIX singer Jesy Nelson celebrated her 35th birthday pondering what is coming next for her.

Holidaying with friends, she mused: “Whatever will chapter 35 bring?”

Well, it is unlikely to bring a reunion with her estranged former bandmates.

Jesy was not a guest at Perrie Edwards’ wedding to Alex Oxlade-Chamberlain in Portugal over the weekend, after Perrie said Jesy made her “blood boil” by claiming she felt unsupported during a mental health crisis.

Whatever comes next, it’s going to be a page-turner.

LEAH LETS LOOSE IN IBIZA

ENGLAND women’s football captain Leah Williamson made the most of her break from the game by enjoying a wild girls’ trip to Ibiza.

I’m told the Arsenal player let her hair down at the White Isle’s most legendary club Pikes last week.

Then on Friday night she let loose at Calvin Harris’ residency at superclub Ushuaia, where she partied with pals and her model girlfriend Elle Smith.

One onlooker told me: “Leah was ­having a great time doing shots with her mates – she was really ­living her best life.”

A calf injury meant she was ruled out of the last Lionesses squad, and it sounds like she is still feeling the effects as Leah wasn’t dancing as much as her mates.

But I reckon a blow-out in Ibiza might be just what she needs before getting her head back in the game.

FRESH off a collaboration with Ed Sheeran, Martin Garrix has teamed up with Madonna.

The Dutch DJ debuted Bizarre, one of the tracks from Madge’s highly anticipated Confessions II album, during a New York party.

From the clip I’ve heard, it sounds like an absolute beast.

ASTON: MY BOY’S READY TO HAVE BITE AT POP STARDOM

JLS star Aston Merrygold reckons he could have the next Justin Bieber on his hands in the form of his talented eldest son.

He revealed that eight-year-old Grayson Jax is already showing serious star potential.

The Beat Again singer said: “My oldest is full-on – he’s ready, he wants to do everything. He’s so much better than I ever was. Little Justin Bieber on the way.”

While fans wait to see if another Merrygold is about to hit the charts, Aston is juggling life as a musician with being a hands-on dad to his three children and setting a good example.

The singer has teamed up with Bupa Dental Care to launch the kids’ story and audiobook The ­Dentist’s Apprentice, aimed at ­helping youngsters overcome fears over check-ups on their teeth.

Aston said: “The whole premise is about trying to get rid of dental anxiety that young people have.

“Having all that pent-up anxious energy is not healthy for anyone. The dentist is about check-ups, it’s about prevention.”

Aston will soon be back on the road with JLS for their UK tour.

They are playing eight more shows, ending in Derby on August 29.

When Kings’ new head coach Peter Laviolette took a tour around the Los Angeles area, he thought he was only going to get a one-bedroom home with a view of the water. His children, though, piped in: “Make sure you get a four-bedroom,” Laviolette remembered his three children saying.

During Laviolette’s time away from the sport, the 61-year-old traveled to Scotland and watched his son play in the East Coast Hockey League. The time away has given Laviolette time to rethink his coaching, and after 30 years of coaching, including 23 as a head coach in the NHL, he’s bringing a trident approach to reshape culture and win games. Centering a hockey family is one part.

“For me, there’s three real important pieces,” Laviolette said. “First, build a family inside the locker room, inside the organization. Secondly, to really work to try and build the culture to get players and organizations to think about the choices they make and how that can affect the culture. And then the third part is the actual game on the ice, just making sure that every day from the start of training camp we work at the game.”

Los Angeles hired Laviolette to a three-year contract after he spent a year away from the sport. Laviolette’s coaching experience stretches 1,594 games, the ninth-highest career total, with six teams: the Capitals, Flyers, Islanders, Hurricanes and Predators. Most recently, he was fired by the Rangers in 2025 after two years with the team.

His postseason success might be the biggest draw for the Kings, who have seen middling success in the years since their second Stanley Cup title in 2014. Los Angeles made the playoffs each year since the 2021-22 season, but the team did not advance past the first round.

Meanwhile, Laviolette is only the fourth coach in hockey to lead three teams to the Stanley Cup Final. He last won with Carolina in 2006, but he earned two President’s Trophies in 2017-18 and 2023-24 with the Predators and the Rangers.

Kings general manager Ken Holland, left, and Peter Laviolette pose for a photo during the new coach’s introductory news conference Wednesday at the team’s training facility in El Segundo.

(Eric Thayer / Los Angeles Times)

Still, Laviolette, despite his track record of first-year turnarounds, is joining a team in flux. The Kings fired coach Jim Hiller after the Olympic break. Interim coach D.J Smith helped guide the team to an 11-6-6 finish, aided in part by a trade for Rangers winger Artemi Panarin, whom Laviolette has also coached.

“I had a really good relationship with Artemi in New York,” Laviolette said. “He’s one of the most talented players I’ve ever coached, and I’m really happy to get to work with him again. He’s an amazing talent.”

Using the winger to go on the prowl is one of the small changes Laviolette plans to bring. The Kings have historically prioritized defense in a league that has shifted to attacking. Los Angeles fell to 30th in goals per game last season (2.68), the first time the Kings averaged fewer than three goals since the 2021-22 season. The team was also 28th in power-play percentage at 17%. Laviolette acknowledged that Los Angeles needed to change, highlighting that an attack-forward mindset has been a keystone of his coaching.

“I don’t think it should be irresponsible to defense,” he said. “But through my experiences, and even just watching the playoffs right now, this is an attack-oriented game, and you have to be willing to move.”

Where does Panarin fit?

“He has the ability to be a game-breaker and a difference-maker,” Laviolette said. “He’s not just a goal scorer. He’s not just a playmaker. He’s elusive. He’s shifty.”

The goal for next season is to score 250 times, according to Kings’ vice president and general manager Ken Holland. The team scored 220 last season.

“We’ve got to get back to scoring more goals,” Holland said. “Part of that’s going to be personnel driven, part of that’s going to be probably style‑of‑play driven, mentality, and certainly the head coach has a lot to do with it.”

As Laviolette meets current staffers and decides whom to bring in, Holland is managing the phones to reach out to assistant coaches and players. Smith has definitively moved on. Phil Housley, whom Laviolette described as an “excellent coach,” could be another potential candidate. Housley worked with Laviolette as one of the Rangers’ assistant coaches between 2023 and 2025.

Still, it’s hard to say the Kings will be a Cup contender with Laviolette. His teams tend to dramatically decline two or three seasons after his hiring. He struggles to develop younger players, instead relying on veterans to carry the weight. Laviolette will have to amplify players like Quinton Byfield and Brandt Clarke, each a talented 23-year-old with high ceilings.

The Kings’ success will rest in how well Los Angeles adapts to Laviolette’s coaching trident. The veteran coach, to his credit, projected confidence.

“When you put those three things together,” he said. “You can really become an unstoppable force.”

SACRAMENTO — Winning elections — or achieving any success — often is about being in the right spot at the right moment. Getting lucky and capitalizing. Xavier Becerra is a textbook example.

Becerra’s moribund campaign for California governor was flatlining in early April when he got a shocking break. Five women publicly accused the Democratic front-runner, Rep. Eric Swalwell, of sexual misconduct, including rape. He denied the allegations but quickly quit the race and Congress.

And Becerra surged, leaping from his political deathbed to Democratic front-runner in the contest to replace Gov. Gavin Newsom, ultimately earning one of two gubernatorial slots on the November ballot.

That’s assuming the agonizingly slow vote count in last week’s primary election holds up, and it’s virtually inconceivable that it won’t.

But Becerra didn’t suddenly just get lucky with Swalwell’s demise. He has capitalized on life-altering sudden good fortune much of his life.

There was a fortuitous incident in high school that substantially upgraded Becerra’s higher education and undoubtedly his career.

Becerra, the son of Mexican immigrants whose construction worker father didn’t go past the sixth grade, was pulling down good grades at McClatchy High in Sacramento when he was invited to a summer program at UC Davis for promising students of color.

One day he saw a classmate toss some wadded paper into a waste basket.

“What’s that?” Becerra asked.

“I was going to apply to this college, but now I’m not,” the kid replied. He had screwed up on a final exam.

“Give it to me,” Becerra said.

It was an application form for Stanford University. Becerra filled it out and “got it in the mail at the last moment,” he recalled to me years later.

He was accepted. His working-class family was able to send him to the pricey, private university thanks to scholarships, federal aid and after-school work.

“I didn’t know where Stanford was until I rode there with my mom,” Becerra told me.

Becerra got a B.A. in economics at Stanford, then earned a law degree there. That ultimately landed him a job as a deputy state attorney general.

He eventually was elected to Congress, filling a vacant central Los Angeles seat when longtime Rep. Edward Roybal retired. He served 12 terms, rising to the No. 4 Democratic leadership position as party caucus chairman.

A big career break came just before the 2016 election. Becerra was back in Sacramento campaigning for two congressional candidates and was invited to a nonpolitical reception. Also attending by chance was Gov. Jerry Brown’s top aide, Nancy McFadden.

McFadden was impressed. They wound up having a long private talk in a corner. Atty. Gen. Kamala Harris was about to win a U.S. Senate seat and Brown would be appointing her replacement as AG.

“What about Xavier?” McFadden thought to herself, she later told me.

McFadden suggested Becerra to Brown, who didn’t really know the guy. But Becerra’s resume stood out and Brown phoned him. There was an instant liking.

“It wasn’t a hard decision,” McFadden recalled. “It just made sense.”

So, Becerra became California’s so-called top cop, a post he really hadn’t been seeking.

But it was the perfect job for Becerra because goofy Donald Trump became president at the same time. Becerra — often with other Democratic state attorneys general — filed 123 lawsuits against the Trump administration and won the vast majority.

The suits ran the gamut of issues, and one was particularly highlighted: Trump’s efforts to kill the Affordable Care Act, or Obamacare.

Fast-forward to Joe Biden’s ouster of Trump in 2020 and the newly elected president’s search for Cabinet members.

Biden needed a health secretary and was drawn to Becerra partly because he had helped jockey Obamacare through the U.S. House as a congressional leader and had staunchly defended it in court as California attorney general.

Without being appointed AG, Becerra might be running for House reelection in November instead of now seemingly having an easy shot at becoming California’s first elected Latino governor.

Becerra got a huge break in the gubernatorial race when two potential heavyweight contenders concluded the job wasn’t worth running for. Either person would have been heavily favored to win.

Former Vice President Harris decided to retain the option of seeking the presidency for a third time in 2028.

Sen. Alex Padilla opted to keep his comfy job, which opens lots of doors to national cable news sets and doesn’t require running vast, nerdy state bureaucracies.

But “if it hadn’t been for Swalwell’s demise, Becerra never would have made the top two” list of vote-getters in the primary, veteran Democratic strategist Garry South says.

Why did Swalwell’s collapse benefit the mild-mannered, low-key Becerra much more than any other Democrat?

“People are looking for something stable,” he told me several weeks ago. “Everybody likes pizzazz and glitter. Then all of a sudden their hero falls from grace. And they look for who they can trust.”

That trust is built on an impressive resume and likability.

Billionaire hedge fund founder Tom Steyer, who has never held public office, spent tens of millions of dollars attacking rival Becerra in TV ads. But it apparently didn’t work because he lacked credibility. Steyer came across to many voters, I suspect, as a wild-eyed meanie.

He would have been better off spending his negative ad money on positive spots promoting himself and becoming more likable.

Likability is a candidate’s No. 1 asset. We learn that as grammar schoolers in class president elections. It beats a billion dollars every time — at least in California.

Now Becerra is on the verge of another break — facing Republican former Fox news commentator Steve Hilton in a lopsided fall contest. Californians haven’t elected a Republican to statewide office in 20 years.

Becerra merely needs to remind voters that Hilton is endorsed by Trump — a nice break gifted by the president.

What else you should be reading

The must-read: Becerra advances to November, moves closer to becoming California’s first elected Latino governor
This just in: 2026 live primary election results
The L.A. Times Special: How a simple mix-up fueled false conspiracies about L.A. vote count

Until next week,
George Skelton

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Three years ago, Mattel Inc. struck box-office gold — or rather, pink — with the billion-dollar success of “Barbie.”

In its first return to theaters since the female-forward phenomenon, the El Segundo toymaker is turning to the brawny He-Man for another box-office lift.

Its latest film, “Masters of the Universe,” opens this weekend, as Mattel looks to build on that previous success and continue extending its signature toy brands into the entertainment arena.

“The movie is very much in tune with culture,” said Mattel Chief Executive Ynon Kreiz. “Everything is much more contemporary relative to what was created more than 40 years ago, but it’s still very true to the origin story and to the DNA of the brand.”

The new film arrives at a pivotal time for Mattel, which is facing pressure from investors to grow its business. The maker of Hot Wheels, American Girl and Uno has recently confronted a challenging market for toys, beset by tariffs on goods produced overseas and weaker-than-expected demand for Barbie dolls and Fisher-Price preschool products.

Amid uncertainty in the toy market and the fallout from tariffs, Mattel’s net income dropped 25% to $398 million in 2025. And since the company announced disappointing holiday sales totals in February, its stock has dropped more than 30%, closing at $14.34 on Wednesday.

“Masters of the Universe” toys at Mattel headquarters in El Segundo.

(Myung J. Chun / Los Angeles Times)

The share price slide prompted investor Southeastern Asset Management to send a letter last month to Mattel leadership suggesting the toy maker should sell itself and go private. Southeastern manages about 4% of the company’s stock on behalf of its clients.

“The frustration among investors has been the fact that if you look at the business from 2021 through 2025 and even this year … the business really hasn’t grown,” said Eric Handler, a Roth Capital senior media and entertainment analyst, referring to Mattel. “This is a company that needed something fresh in the portfolio, and there’s a wide range of investments being made, of which ‘Masters of the Universe’ is one part.”

Kreiz pushed back on the idea that the company is not growing. In the fourth quarter of 2025, net sales were up 7% to $1.8 billion, though the result was not as strong as the company expected.

Mattel has spent $1.2 billion in the last three years to buy back shares, with an additional $1.5-billion share repurchase planned for the next three years.

“We’re investing in our own stock because we believe it is undervalued,” he told The Times in an interview at his office, which has floor-to-ceiling windows that give an expansive view of El Segundo. “We absolutely agree that the share price doesn’t reflect the progress that we’ve achieved over the last few years financially, operationally, our place in culture, the strength of our brands, and the continued expansion of the business. And more importantly, the potential that we have down the road.”

“Masters of the Universe” is a key variable in that equation.

Ynon Kreiz, chief executive of Mattel.

(Myung J. Chun / Los Angeles Times)

The movie, which had a budget of roughly $170 million, is expected to bring in $25 million to $35 million in the U.S. and Canada during its debut weekend. That’s a far cry from the $162-million opening haul of “Barbie,” but box-office analysts say that film captured the cultural zeitgeist in a way that’s hard to replicate.

The ‘80s-era “Masters of the Universe” is “a property that was famous with a certain group of fans, but it hasn’t had much of a pop culture presence,” said Shawn Robbins, who directs movie analytics at Fandango and founded the forecasting site Box Office Theory. The movie has notched a respectable 74% approval rating from critics on aggregator Rotten Tomatoes.

“There’s been so many callbacks to nostalgic franchises,” he said. “Some people are always on board for them, and maybe the positive reviews bring people in who were on the fence. But people are also ready for something fresh and new and exciting.”

Kreiz said he’s often asked how the company will match the success of “Barbie.”

“The answer is, we don’t need to match ‘Barbie’s’ success for movies to have a meaningful economic impact on the company,” he said. “Not every movie will be ‘Barbie.’ If we create quality content that people want to watch and create quality experiences that people are engaged with, good things happen, and these brands will resonate and will be here for years to come.”

While theatrical revenue is important, the measure of success for “Masters of the Universe” could also include its eventual reception on streaming platforms and, of course, toy sales, analysts said.

There are hundreds of products tied to the movie, from collectible action figures of Nicholas Galitzine’s He-Man and Camila Mendes’ Teela, to branded Uno decks, Legos, clothing and skateboards.

Skeletor from “Masters of the Universe.”

(Myung J. Chun / Los Angeles Times)

“For us, it’s a huge win already,” said Robbie Brenner, president of Mattel Studios and chief content officer, who also served as a producer on the film. “We have reinvigorated and relaunched this brand that has been around for decades … and done it in a way with just the best-in-class toys. Obviously that’s our bread and butter. And then to have made an epic, incredible movie … is a huge win.”

While Mattel does not yet have sales totals for its “Masters of the Universe” toys, executives said during an earnings call in late April that product sales were “growing double digits” amid strong customer demand, particularly from adults.

When Kreiz was named CEO in 2018, he saw the potential for Mattel to expand beyond toys. In an entertainment landscape dominated by known franchises and intellectual property, the former TV and media executive wanted to leverage the company’s IP in new ways to attract consumers.

Hence, Mattel has expanded into real-world experiences such as a Barbie pop-up at Coachella or a traveling Hot Wheels monster truck show. In February, the company fully acquired Mattel163 mobile game studio after buying out a stake held by Chinese tech firm NetEase. The studio has released games based on Uno, Skip-Bo and other Mattel intellectual property.

And on the film and television front, the Mattel Studios division now has 51 people — most of whom are based in El Segundo — focused on projects across platforms.

After “Masters of the Universe,” Mattel Studios plans to release a “Matchbox” streaming movie in October. The division has more than a dozen films in development that have been announced, including an American Girl movie with Paramount, Polly Pocket with Amazon MGM Studios, as well as a live-action Magic 8 Ball series from M. Night Shyamalan.

“The journey for the company was to evolve from being a toy manufacturer that was making items to become an IP company that is managing franchises,” Kreiz said. “It’s not that we’re not creating toys — it’s obviously a big part of our business — but the opportunity is to expand so much more than the physical product.”

“Masters of the Universe” was in development for years at several different studios before it was picked up by Amazon MGM.

That partnership stemmed from Mattel’s work on the “Barbie” movie with Courtenay Valenti, then president of production and development at Warner Bros. Pictures who is now head of film at Amazon MGM.

“Masters of the Universe” felt like a good property for Mattel to bet on because of its nostalgia factor and deep bench of colorful characters, from the green tiger Battle Cat to the heavily armored Ram Man and ever meme-able Skeletor, which the company hopes will attract new audiences, Brenner said.

The movie is directed by Travis Knight — chief executive of stop-motion studio Laika who also led the 2018 “Transformers” spin-off “Bumblebee” — who Brenner said “nailed” the narrative’s tone. (It didn’t hurt that Knight was already a fan of the franchise and had sported the He-Man haircut as a child.)

“It’s a property that’s kind of out there,” said Brenner, who grew up watching He-Man and his twin sister She-Ra. “It’s got all these crazy characters. But just riding that line between what is funny and kind of irreverent and then kind of heartfelt, that is a very hard thing to put in a blender and to get right.”

In her early 20s, Ashley Padilla moved from the Bay Area to Los Angeles, hoping to make a living in comedy. She was taking classes at the Groundlings when an acting exercise forever changed her.

“The teacher said, ‘All right, everyone try to get my attention.’ Everyone starts going crazy,” recalls Padilla, imitating the manic movements her classmates incorporated to be as noticeable as possible. “I just stood in the back like a quiet little freak. I didn’t try to do anything. And she went, ‘I’m just staring at Ashley.’”

Padilla, now 33, is sitting in the restaurant at the 1 Hotel on Sunset, dressed in an elegant white blazer and long skirt, a long way both mentally and professionally from that aspiring performer struggling to find her creative voice. But that lesson remains close to her heart.

“I think about it all the time: You don’t have to be so loud. It actually is more powerful if you’re a little slower.”

Currently in her second season as a featured player on “Saturday Night Live,” Padilla, who sports an ebullient manner and warm smile, has become a fan favorite by exploring how much humor (and tension) you can derive from stillness. Her best sketches, including “Mom Confession,” in which a MAGA mother finally, begrudgingly, admits to her liberal kids that maybe Trump hasn’t been a great president, sparkle because of how expertly she builds suspense regarding where the setup is going.

Ashley Padilla, right, with castmates Tommy Brennan and Jane Wickline in the “SNL” sketch “Mom Confession.”

(Will Heath/NBC)

“I really want to be able to stop and take that pause at the beginning [of a sketch], which are the quickest things to cut because you’re trying to save time: ‘Let’s get rid of when you enter,’” she says. “What roots me as an actor is a little breath. Before we get to the jokes, let the audience see me live in it for a second. I think I’ve proven that [those pauses are] not going to suck the air out of the room. It’s actually going to assist in the blowup that we’re waiting for.”

When Padilla lived in L.A., she adored her Los Feliz neighborhood, so on this late April afternoon she confesses to some disorientation at doing press on the Westside. Still, memories keep creeping up unexpectedly. “I’ll see a coffee shop, and you remember how you were feeling: ‘Will I ever make it?’”

There were encouraging moments that kept her going. One dispiriting day, she was on Melrose Avenue walking to the Groundlings. “In my head I went, ‘Will I ever be on television?’ Just then, a car passes with the girl rolling down the window going, ‘I’ve seen you perform! You’re going to be on television!’ It’s literally like someone answered my cry inside and went, ‘Calm down, it’s going to be OK.’”

Optimism came through other channels too, such as her job as Diane Keaton’s assistant, eventually co-creating her 2024 book “Fashion First.” Padilla adored the late actor and filmmaker, grateful for her endless sense of wonder, which inspired Padilla to see the world differently.

“She would stare at a tree: ‘Look at the way the sun goes through the branches,’” Padilla says, marveling. “I have a voicemail that I listen to whenever I’m feeling a little sad or I miss her — she’s just like, ‘Hey, Ash, how are you doing? I’m just checking in.’ And she stops and goes, ‘The blue sky. Wow.’ And I’m just like, ‘You are someone we all want to be around.’ It’s why she is so massive in people’s lives.”

Before ‘SNL,’ Padilla had stints at the Groundlings and as Diane Keaton’s assistant.

(Sela Shiloni / For The Times)

Since girlhood, Padilla has loved to write, which was valuable once she joined the Groundlings, doing seven shows a week. “You don’t get onstage unless you write your own stuff,” she says. Her viral “SNL” sketch “Haircut” — in which Padilla goes to dinner with friends, disturbing them with her atrocious haircut — was created at Groundlings, where it killed. But pitching it at “SNL” revealed the differences between the stage and live television.

“‘Haircut’ started as a ‘[Weekend] Update’ [feature], and I was unwilling to get rid of some stuff in there because I knew it worked at Groundlings,” she recalls. Padilla credits her frequent “SNL” co-writers Alison Gates and Kent Sublette for helping her understand the program’s rhythms. “They made it punchier and snappier. I definitely need the other writers — they make it so much better. At the Groundlings, there’s no camera cuts, there’s no time limit — you can mosey and do behavioral stuff. But [‘SNL’ sketches] need to look good on television. These writers are so good — they’ll say a joke that I go, ‘You’ve just said everything I was trying to do in a whole page.’”

Padilla’s peculiar but grounded characters may make you wait to see what they have in store, but she isn’t wasting any time. Last summer, wanting to distract herself from wondering whether she’d be asked back to “SNL,” Padilla wrote a screenplay, which is now being backed by Oscar-winning “Moonlight” producer Adele Romanski. Padilla won’t say much about the project, but you can bet she included a part for herself.

“It’s like, ‘I want to be on television? OK, write your sketches. I want to be in movies? I wrote a movie,”’ she explains. “I don’t want to wait around for someone to give me a role. I hope I get to work with great people, but I also want to control my own career — and my own happiness as well. I want to be creative all the time.”

UCLA’s Megan Grant is just like every other college senior her age.

Sure, it might not seem like it from the outside looking in. After all, how can someone who has hit 89 home runs across her college career — one short of the Bruins’ record — and helped one of softball’s most dynamic offensive teams check off a list of new NCAA and program records relate to the other sociology majors in her classes at UCLA?

Grant disappears into her head sometimes, something she readily acknowledges. But her solution might not be as accessible to all the other “Twilight”-binging, video-game-loving UCLA students. She has coach Kelly Inouye-Perez keep her, the Division I home run queen, from getting caught up in the moment.

“She does a really great job with just keeping me neutral,” Grant said. “Sometimes I may get in a little crazy headspace, but she does a really great job helping me get out of those feelings that I’m stuck in, and she pulls me out and makes me realize, ‘Hey, as long as I can be who I am, that’s enough.’”

UCLA head coach Kelly Inouye-Perez, left, confers with associate head coach Lisa Fernandez next to infielder Jordan Woolery during NCAA reigonal game on May 15.

(Gina Ferazzi/Los Angeles Times)

Inouye-Perez and assistant coach Lisa Fernandez are some of the Bruins’ biggest keys to success as the team prepares for the start of the Women’s College World Series in Oklahoma City. The Bruins will face Texas Tech at 4 p.m. PDT Sunday in a game airing on ESPN.

UCLA closed its super regional with a single-season home run record (200) and a record for WCWS appearances (34).

Grant is no stranger to the work necessary to see that level of success. But even in her rare bad at-bats and struggles, Inouye-Perez and Fernandez allow her the space to fail. After all, there are nine places in the lineup. One person alone isn’t indicative of UCLA’s wins or losses, Inouye-Perez says.

“We really focus on succeeding and learning how to fail, so they can just get to the next pitch,” Inouye-Perez said. “We talk about the ability to slow the game down, to take deep breaths, to be able to enjoy the moment. It’s not on any one Bruin.”

That mentality doesn’t exist in a void. Inouye-Perez and Fernandez worked in tandem to create the powerhouse team, which is in the midst of one of the best offensive seasons in D1 softball history.

Inouye-Perez is in her 20th year coaching the Bruins and is the only NCAA softball player to win a championship as a player and a coach. She led the 2010 and 2019 teams to those titles. Meanwhile, Fernandez, in her 28th year coaching at UCLA and her fourth as associate coach, has taken primary responsibility for hitting — one of the Bruins’ biggest keys to success. The team leads the nation in batting average (.385), RBIs per game (10.38) and on-base percentage (.496).

“Me and her, we’re workhorses,” Grant said of Fernandez. “We work all day after practice hours together, and it just means the world. You can tell that she loves the game and her little nuggets that she teaches me.”

The Bruins’ success in the batter’s box also has helped raise the tide of a team that could’ve fallen into many pitfalls. The team has only one main pitcher, Taylor Tinsley, who’s spent the most time in the circle in the NCAA tournament with 29-1/3 innings pitched. The Bruins are also young. Of the 21 players on the roster, only eight are seniors, redshirt juniors or juniors.

Seniors Jordan Woolery and Grant are one pace to break NCAA records, but the underclassmen aren’t far behind. Redshirt freshman Aleena Garcia set a single-game RBI record (7) when she hit two three-run homers in UCLA’s 14-4 win over Central Florida in the Super Regional.

Much like Inouye-Perez, Fernandez’s best attribute is her ability to be a sounding board for Grant.

“You get her enthusiasm too,” Grant said. “If you mess up, she’s always there to have your back. She celebrates your wins as well, and she gets very ecstatic about it. It almost makes me laugh, because it makes things so much more fun. She just brings that out of people.”

Even when teams lose to UCLA and Fernandez, it’s still a positive experience for some.

UCLA associate head coach Lisa Fernandez huddles near the mound with starting pitcher Taylor Tinsley (23) during the fifth inning of a comeback win over California Baptist. The Lancers scored 10 runs in the fifth, but Tinsley bounced back from outing.

(Gina Ferazzi/Los Angeles Times)

Central Florida coach Cindy Ball-Malone considered Fernandez one of the best softball players ever, calling her the Michael Jordan of the sport. But what makes her truly impressive, Ball-Malone said, is that Fernandez is an even better coach.

“She’s just a winner,” Ball-Malone said. “I kind of just want to rub up on her or something to get that mojo because she’s got it. Her attention to detail, her belief in the smallest things, that’s why she is so good at what she does.”

It’s no wonder then why so many people, regardless of team affiliation, want to see UCLA’s coaches in person.

If you’re a part of the Bruins, you get to learn from people who have brought the school championships. And, if you’re trying to beat UCLA, there’s no better accomplishment than saying you beat Inouye-Perez and Fernandez’s record-breaking team.

“[Fernandez is] going to push you, and it might be uncomfortable, but dang it, you have no choice but to get better,” Ball-Malone said. “If you can get through her, you can get through anybody, and I’m going to learn from that so I can bring that to this program.”

It was only a couple of weeks after beating Manchester City in the FA Cup final at Wembley that Palace were hit with a devastating sucker-punch.

It was early July and south London was eagerly anticipating the prospect of Selhurst Park hosting Europa League football for the first time.

But after Uefa deemed Palace to have breached its multi-club ownership rules – with American businessman John Textor holding stakes in both the Eagles and French side Lyon, who had also qualified for the Europa League – Glasner’s team were demoted to the Conference League.

The shock verdict threatened to suck the life out of Palace’s success before the new season had even began, with Parish describing it as “probably one of the greatest injustices that has ever happened in European football” before an ultimately unsuccessful appeal to the Court of Arbitration for Sport.

After a 120-year wait for a first major trophy, however, it was going to take more than that to dampen Palace’s spirits.

The Eagles showed no signs of feeling sorry for themselves when starting the new season by defeating Premier League champions Liverpool in the Community Shield in the now-familiar surroundings of Wembley.

But the turbulence continued with the departure of talisman Eberechi Eze, who left for a record fee to join Arsenal after five years at Selhurst Park.

And they nearly also have had to cope with the loss of star defender and captain Marc Guehi had Glasner not intervened.

The England international was all set to rubber-stamp a move to Liverpool until Palace pulled the plug late on deadline day after a move for his intended replacement – Brighton’s Igor Julio – failed to materialise.

After Guehi’s move to fell through – which would have brought Palace a fee in excess of £35m for a player in the final 12 months of his contract – the lines between Glasner and Parish appeared to blur.

It was reported that the Austrian manager, also in the final year of his deal at Selhurst Park, had threatened to quit if Parish had sanctioned Guehi’s move to Merseyside.

Glasner was left frustrated that Palace, preparing for their debut European campaign – which would include at least six additional games in the league phase of the competition – seemed willing to sanction departures rather than retain and strengthen the squad they already had.

It was clear tensions were rising behind the scenes at Selhurst Park.

Manchester City face Chelsea in the FA Cup final looking to add to their League Cup success and with eye on EPL title.

Pep Guardiola insists Manchester City have had a successful season, whether or not they win the Premier League title or the FA Cup final against Chelsea on Saturday.

Guardiola’s side will put their attempt to catch Premier League leaders Arsenal on hold as they head to Wembley for a fourth successive FA Cup final appearance.

City start every season with the Premier League and Champions League as their main targets, but they are on the verge of falling short in both.

Knocked out of the Champions League last 16 by Real Madrid in March, City will be five points behind Arsenal if the Gunners beat relegated Burnley at home on Monday.

Guardiola’s men can close the gap back to two points with victory at Bournemouth in their penultimate match of the season on Tuesday.

But Arsenal would then still be able to guarantee their first English title since 2004 by winning at Crystal Palace on May 24.

Having already won the League Cup by beating Arsenal, City have a chance for a domestic double this weekend.

However, Guardiola is adamant the campaign has been positive, no matter what happens at Wembley or in the title race.

“It depends on the trophies you lift. Sometimes you lift trophies and the season has been successful,” said Guardiola, who would only offer “we’ll see” when asked if Rodri would be fit to start in midfield.

“Sometimes, you lift and the truth is the season has been really, really bad.

“I said a few weeks ago this season has been good. Really, really good.”

After starting with Erling Haaland, Rayan Cherki and Jeremy Doku on the bench for Wednesday’s win against Crystal Palace, Guardiola is likely to field a full-strength team against Chelsea instead of prioritising the title fight.

“It is the final of the FA Cup. The message is there are two prestigious clubs at Wembley in the FA Cup final. Our fans make an incredible effort to come down to London. It is not cheap,” he said.

“We try to perform as much as possible to win. It is always the game plan.”

City have lost the last two FA Cup finals against Crystal Palace and Manchester United, who they had beaten in the 2023 showpiece.

“There’s excitement, of course. I hope we can do better than the last two times,” Guardiola said.

“Wembley is still a special place. Everything is so nice. The pitch is extraordinary. We are desperate to perform well.”

Ahead of his 24th trip to Wembley with City, Guardiola joked that he is “so disappointed” he has not had a stand named after him at the home of English football.

“So many times I have been there, at least a lounge or a box or something like that. Maybe I have to go 24 more times,” he said.

Guardiola has one year left on his City contract and is yet to sign a new deal amid speculation that he could end his decade at the Etihad Stadium once the current campaign is over.

Asked about reports that City’s fitness coach Lorenzo Buenaventura and goalkeeping coach Xabi Mancisidor are set to leave the club, Guardiola said with a smirk: “I extended the contract with them three more years,” before adding: “Nope”.