success

Feedback is the seasoning that flavors the success of our favorite TV shows. Whether it’s from an executive, a trusted colleague or the actors, advice can shape tone, pacing, plotlines and character arcs — all of which can make or break a series. We asked some of this year’s Emmy contenders how creative collaborations provided the notes to their success.

“The Diplomat”

Allison Janney in “The Diplomat.”

(Netflix)

To create the unrelenting tension in the Netflix political drama, which was inspired by conversations with real diplomats, creator Debora Cahn turned to advice from “Homeland” showrunner Alex Gansa: “He said take whatever story that you’re planning in the last episode of the first season and do it in the first episode. And I was like, ‘Ooh, s—.’” The result hurls lead Kate Wyler (Keri Russell) into high-stakes chaos, none wilder than her clash with the vice president (Allison Janney) and a jaw-dropping Season 2 twist. “I was embarrassed to pitch it to the writers’ room. It was an unspeakably dumb idea and a bad cliche, but I had to get it off my chest. We looked for other things, but we kept coming back to it and realized that it did the thing that you really want a plot to do, which is it changes everything.”

“Monsters: The Lyle and Erik Menendez Story”

Nicholas Alexander Chavez, left, Cooper Koch and Javier Bardem in “Monsters: The Lyle And Erik Menendez Story.”

(Miles Crist / Netflix)

“In researching [the Menendez brothers case], [co-creator] Ryan [Murphy] mentioned, ‘I think this story is [Akira Kurosawa’s] “Rashomon.”’ That was the one note I was like, ‘Oh, I totally get this now,’” says co-creator Ian Brennan of the Netflix limited series. “We’re never going to know what the true story is, but that became a really good guiding light because we made sure that when we’re telling an aspect of this story that’s disputed, we’d go back and tell it the other way,” he says. “What we’re doing is based on as much truth as we can find, but I feel like you’re obliged to take some liberty. It’s not only to tell a story that’s entertaining but to get to those deeper truths that are sometimes occluded by the mundanity of some facts. It’s a painting, not a photograph.”

“Only Murders in the Building”

Steve Martin, left, Selena Gomez and Martin Short in “Only Murders in the Building.”

(Eric McCandless / Disney)

Creator John Hoffman says the idea for Hulu’s mystery-comedy came to him during the pandemic, when everyone was afraid to step outside their door. “This show is about lonely New Yorkers who found a connection between true crime and a death in their building,” he says. But his chief concern was injecting soul into the punch lines. “When I was talking about my ideas for how to make it more connective and humorous, I wanted the comedy to come from humanity as opposed to jokes and behavior. I was deeply surprised by everyone’s response, from the studio, the network and [executive producer] Dan Fogelman, that they wanted to lean into that more profound connective tissue that was more unexpected and dramatic at times,” he says. “There are a lot of personal things in that first season that I thought, ‘Well, that’s going to get me fired.’ But they accepted it.”

“Slow Horses”

Gary Oldman in “Slow Horses.”

(Apple TV+)

“[Executive producer] Graham Yost was always very clear that we should focus on adapting Mick Herron’s work and not just use it as a launchpad for some kind of offshoot,” says creator Will Smith of the clever Apple TV+ show, which follows a group of disgraced MI5 agents. “Whenever we got stuck in the room, Graham’s watchword would be, ‘Well, let’s look at what Mick wrote,’ and we would go back to the book and figure it out from there. So the tone of the books infused the scripts.” The outcome is a nail-biter of a tale with humor smuggled in like contraband. ”Our fabulous exec Jamie Laurenson and our brilliant [Season 1] director James Hawes both understood that nothing should ever feel like a joke, nothing should feel gratuitous or crowbarred for a laugh. It should all be thrown away, underplayed, said on the run.”

“What We Do in the Shadows”

The cast of “What We Do in the Shadows.”

“There’s a part of me that feels like it’s cheating, but it really helps,” says showrunner Paul Simms of the mockumentary shooting style behind the hilarious FX series, which portrays the awkward lives and bizarre pitfalls of centuries-old vampires. “If you’re writing a narrative show that’s not documentary format, people’s motivations have to come out in their dialogue. With this, you can have characters very directly and, in a very funny way, state their motivations.” Unlocking its full bite of wit were two keys. “One great thing about this format is that you’re not hamstrung by little continuity details in the edit. You can do jump cuts and jam in as much funny stuff without having to worry,” Simms says. The other, a network note: “From the beginning, FX and John Landgraf were saying the vampire stuff is fun, but it can’t be all vampire jokes. So our approach every season was to go in new directions and create constant tension.”

The Foothill League doesn’t have to take a back seat to any league when it comes to tradition and success, from producing state champions to being the league where Hall of Fame coaches Harry Welch and Mike Herrington once saw huge success.

All seven schools that are part of the William S. Hart Union High School District took part Saturday in the first Foothill League media day at Saugus High. There’s much to admire about the league, including that all seven schools have athletic trainers and six of the seven head coaches are also full-time teachers.

Hart, Canyon and Valencia have produced their share of NFL players. And this season, Valencia has the talent to make a run in Southern Section Division 2 or 3 with the return of running back Brian Bonner, a Washington commit, and quarterback Brady Bretthauer.

Coach Larry Muir is entering his 20th season as head coach and still teaching four classes of U.S. history each day. “He’s a lot nicer in the classroom,” Bretthauer joked. “He picks on the football player.”

Bretthauer also revealed how he motivates his linemen to block. “If I get sacked, no In-N-Out,” he said.

Even though Muir is challenged daily to balance his time and commitment from teaching to coaching football, Muir said he wouldn’t want it any other way. “I love being in the classroom,” he said. “I literally don’t feel I go to work. “

The rivalries in the league guarantee the sports-crazed Santa Clarita Valley weekly entertainment. About the only issue is a lack of stadiums. Canyon and Valencia have stadiums and College of the Canyons also hosts games.

“It’s playoffs every week,” Golden Valley coach Dan Kelley said. “There are no slouches.”

Golden Valley will have a four-year starter in lineman Evan Nye, a 6-foot-3, 250-pound senior.

Castaic is turning to junior Aidan Mojica, a former tight end, as its new quarterback. There’s a promising sophomore linebacker in Lucas Duryea, who will be eligible at the end of September after transferring from Chaminade.

West Ranch has a first-year head coach in TJ Yonkers. Its top returning defensive player is Max Piccolino, who had 15 1/2 sacks last season.

Carson Soria, a former receiver, is moving to quarterback for Canyon. He’s also the punter, so beware of trick plays.

Hart quarterback Jacob Paisano will be trying to get the ball to junior Matix Frithsmith in a variety ways, whether Frithsmith is playing running back or slot receiver. Two of Hart’s players are the sons of principal Jason D’Autremont.

Saugus has the son of Valencia principal Kullen Welch playing for them, which should make for an interesting game when those two schools play. Beckham Welch is an offensive lineman for the Centurions.

Saugus coach Jason Bornn, who organized the media day, wondered how many championships would be won if the talent in the area was concentrated at one or two schools rather than seven.

“If we only had one or two high schools, Mater Dei and St. John Bosco wouldn’t have a chance,” he said.

Brookside was the gritty soap that shocked the nation, smashed taboos, and made suburban cul-de-sacs the stage for explosive drama. But what happened to the cast?

Brookside, the groundbreaking soap that shocked the nation and turned ordinary suburban streets into a hotbed of drama, was a staple of British television for over two decades.

The show, which first aired on Channel 4 on 2 November 1982, followed the everyday lives of its characters, dealing with everything from heart-wrenching break-ups to shocking crimes that reflected real issues in the UK. The Liverpool-based soap ran for an impressive 21 years before its final episode aired on 4 November 2003.

Created by Phil Redmond, Brookside was never one to shy away from controversial topics – it was responsible for the UK’s first pre-watershed lesbian kiss and tackled subjects such as domestic abuse, incest, and even a body buried under a patio.

Now, the beloved soap is poised for a comeback – featuring in an unprecedented crossover with Hollyoaks.

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After Brookside concluded on November 4th 2003, Hollyoaks stepped up as Channel 4‘s premier continuing drama. The show began production on a portion of Brookside’s former set, which remains its filming location to this day.

As Hollyoaks gears up to celebrate its 30th anniversary this October, it plans to commemorate the occasion with a special episode that pays homage to both Brookside and their shared creator, Sir Phil Redmond.

The upcoming crossover episode will delight viewers with the reappearance of beloved, classic Brookside characters to celebrate this significant event.

But what became of the Brookside cast once the cameras stopped rolling? From heartbreaking losses to surprising career changes, here’s a look at where some of the show’s biggest stars ended up.

Dean Sullivan (Jimmy Corkhill)

Jimmy, a troubled drug addict turned teacher, was one of Brookside’s longest-serving characters. Portrayed by Dean Sullivan, he joined the series in 1986 and was involved in many major storylines.

Tragically, Dean passed away in 2023 at the age of 68 after a battle with prostate cancer, a diagnosis he had bravely shared just months before his death. He had been diagnosed in 2018 and had been receiving treatment.

Following his passing, fans and former co-stars paid their respects.

Sue Jenkins (Jackie Corkhill)

Jackie Corkhill, played by Sue Jenkins, was the long-suffering wife of Jimmy Corkhill, enduring his emotional turmoil and schemes in many of the show’s most gripping storylines.

Since the end of the show, Sue has continued her acting career with roles in Coronation Street, Holby City, and Doctors, as well as theatre productions. Now 66, she is a vocal advocate for arts education and is married to David Fleeshman, with whom she has three children, Richard, Emily and Rosie.

Anna Friel (Beth Jordache)

Beth Jordache, portrayed by Anna Friel, became a cultural icon when she was involved in the first pre-watershed lesbian kiss on British television, a storyline that made international headlines. The episode aired in January 1994, also featuring Margaret Clemence, played by Nicola Stephenson.

Anna has since built a highly successful acting career on both sides of the Atlantic, starring in shows like Pushing Daisies, Marcella, and The Girlfriend Experience. Now 48, she is an award-winning actress and a regular on the red carpet.

She has been married twice and has one child.

Claire Sweeney (Lindsey Corkhill)

Claire Sweeney played Lindsey Corkhill, a member of the troubled Corkhill family, who found herself caught up in love triangles, dodgy dealings, and emotional confrontations. Lindsey started as a recurring character before being promoted to the regular cast in 1995.

Actress Claire shot to fame following Brookside, transitioning into musical theatre, releasing an album, and becoming a Loose Women panellist. She has recently made a comeback to the soap world with a stint on Coronation Street.

Earlier this year, Claire delighted Brookside enthusiasts as she returned to the West Derby houses where the programme was originally filmed. The 53-year-old shared numerous photographs and videos on Instagram from her impromptu nostalgic journey.

In her Instagram video, Claire revealed to followers that whilst she had visited the location the previous year, she had spotted a “beautiful little surprise” beneath the Brookside sign commemorating Dean Sullivan, who portrayed her on-screen father Jimmy.

Michael Starke (Sinbad Sweeney)

Sinbad Sweeney was a window cleaner with a heart of gold. He became a viewer favourite after joining the programme in 1984.

Actor Michael Starke subsequently featured in The Royal, Coronation Street, and even enjoyed a role in Benidorm. He has also established himself as a pantomime regular and serves as a dedicated ambassador for Liverpool’s cultural scene.

Now 67, his latest role saw him portray a taxi driver in Hollyoaks from 2021 to 2023.

Jennifer Ellison (Emily Shadwick)

Emily’s storyline concluded in devastating fashion, with her character’s tragic plunge from a window ranking among Brookside’s most shocking departures. Actress Jennifer switched gears to pop music, reality TV (Dancing on Ice, Hell’s Kitchen), and theatre, before launching her own dance academy in Liverpool.

She also starred in the West End and now leads a quieter life centred around family.

She is married to Rob Tickle and they have three children.

Louis Emerick (Mick Johnson)

Mick Johnson was the straight-talking single dad and mini-mart owner with a strong moral compass. He made his final appearance on 22 August 2001, having first appeared in 1989.

Actor Louis Emerick, 64, has continued his acting career in TV dramas and soaps, including Coronation Street and Doctors, and has performed in theatre tours across the UK.

Where are the others?

Several cast members left the industry altogether – some moved abroad, others stepped away from the limelight. A few, like Ray Quinn (who briefly appeared in the later years), reinvented themselves entirely.

Ray went on to become a singer and X Factor finalist, with a stage career.

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BRUSSELS — The greenlight given by President Trump on U.S. backup for a European-led force to police any future peace agreement in Ukraine vastly improves the likelihood it might succeed.

European leaders said Trump offered his backing during a call they held ahead of his summit with Russian President Vladimir Putin on Friday.

The effectiveness of the operation, drawn up by the so-called coalition of the willing of around 30 countries supporting Ukraine, hinges on U.S. backup with airpower or other military equipment that European armed forces do not have, or only in short supply.

EU leaders regularly have underlined how the United States is “crucial” to the success of the security operation dubbed Multinational Force Ukraine. But the Trump administration has long refused to commit, perhaps keeping its participation on hold as leverage in talks with Russia.

After a meeting Wednesday between Trump and European leaders, European Council President Antonio Costa welcomed “the readiness of the United States to share with Europe the efforts to reinforce security conditions once we obtain a durable and just peace for Ukraine.”

French President Emmanuel Macron said Trump had insisted NATO must not be part of these security guarantees, but the U.S. leader agreed “the United States and all the (other) parties involved should take part.”

“It’s a very important clarification,” Macron said.

Trump did not publicly confirm he would allow U.S. backup, and no details of possible U.S. support were made public, but U.S. Vice President JD Vance sat in on the coalition meeting for the first time.

The Multinational Force Ukraine

More than 200 military planners have worked for months on ways to ensure a future peace should the war, now in its fourth year, finally halt. Ukraine’s armed forces also have been involved, and British personnel have led reconnaissance work inside Ukraine.

The exact size of the force has not been made public, although Britain has said it could number 10,000 to 30,000 troops. It must be enough to deter Russian forces, but also of a realistic size for nations that shrank their militaries after the Cold War and are now rearming.

The “reassurance” force’s mission “will be to strengthen Ukraine’s defenses on the land, at sea, and in the air because the Ukrainian Armed Forces are the best deterrent against future Russian aggression,” U.K. Defence Secretary John Healey told lawmakers last month.

“It will secure Ukraine’s skies by using aircraft,” Healey said, “and it will support safer seas by bolstering the Black Sea Task Force with additional specialist teams.”

Bulgaria, Romania and Turkey launched that naval force a year ago to deal with mines in Black Sea waters.

The force initially will have its headquarters in Paris before moving to London next year. A coordination headquarters in Kyiv will be involved once hostilities cease and it deploys.

The impact of US participation

European efforts to set up the force have been seen as a first test of the continent’s willingness to defend itself and its interests, given Trump administration warnings that Europe must take care of its own security and that of Ukraine in future.

Still, U.S. forces clearly provide a deterrent that the Europeans cannot muster.

Details of what the U.S. might contribute were unknown, and Trump has changed his mind in the past, so it remains to be seen whether this signal will be enough to persuade more countries within the coalition to provide troops.

Greece has publicly rejected doing so. Prime Minister Kyriakos Mitsotakis said last month that those discussions were “somewhat divisive” and distracted from the goal of ending the war as soon as possible.

Italy’s Prime Minister Giorgia Meloni has said Rome won’t contribute troops, but she previously has underlined the importance of working with the U.S. on ending the conflict and called for the participation of an American delegation in force coordination meetings.

Cook writes for the Associated Press. AP writer Emma Burrows in London contributed to this report.

Singapore – As Singapore’s Diamond Jubilee celebrations draw to a close on Saturday night, a huge fireworks display will illuminate the city’s extraordinary skyline.

The numerous skyscrapers and futuristic buildings stand as a tribute to the country’s remarkable development after separating from Malaysia in 1965.

This tiny Southeast Asian state, with a population of just over six million people, has one of the highest rates of wealth per capita in the world. Its advanced economy also attracts workers from across the globe.

The financial hub is famed for its stability, high standard of living, forward-thinking approach and infamous for its centralised style of governance.

While Singapore will bask in some success this weekend, once the flags are taken down and the SG60 merchandise is removed from the shelves, the island-nation will get back to work and begin contemplating its future.

Plans are already in motion to continue Singapore’s growth, with its most famous landmark – Marina Bay Sands – set to house a new fourth tower of hotel rooms in 2029, while a 15,000-seat indoor arena will also be built at the site.

Changi international airport, which was ranked this year as the world’s best for the 13th time, will also gain a fifth terminal by the mid-2030s.

Residents of the “Lion City” clearly have plenty to look forward to, but the road ahead may also contain some potholes.

Al Jazeera has been taking a look at some of the challenges that Singapore could face in the next 60 years and how they might be tackled.

Climate change

As a low-lying island, sitting just north of the equator, Singapore is particularly vulnerable to the threat of a changing climate. The country’s former prime minister, Lee Hsien Loong, once described it as a matter of “life and death”.

Rising seas and increased rainfall could lead to flooding, with extreme weather events set to be a more common occurrence.

While the city-state has so far dodged the kind of weather disruption that plagues many of its neighbours, the government is preparing for the worst.

Rising sea levels are of particular concern, with alarming estimates that the waters around Singapore could rise by more than a metre (3.2ft) by 2100.

To counter the threat, plans are being considered to build three artificial islands off the country’s east coast. These areas of reclaimed land would be linked by tidal gates and sit higher than the mainland, acting as a barrier.

Benjamin Horton, former director of the Earth Observatory of Singapore, said the country could come to a standstill if catastrophic rain were to combine with a high tide.

“If it flooded a lot of the infrastructure in Singapore, closing down MRTs [mass rapid transit], shutting down emergency routes, flooding a power station and the electricity went down – Singapore would be crippled,” Horton said.

The already-sweltering Southeast Asian financial hub will also have to cope with even hotter conditions.

A 2024 government study found that the daily average temperature could rise by up to 5 degrees Celsius (9 degrees Fahrenheit) by the end of the century.

Horton, who is now dean of the School of Energy and Environment at City University of Hong Kong, said this could impact the country’s economic productivity.

“Singapore is always developing and is reliant on immigrant labour that works outside during the day. Climate change is going to impact that significantly,” he said.

Yet, Singapore, Horton said, has “the potential to be the lead in how you adapt to climate change and to be the leader in coastal protection”.

Demographic time bomb

Singapore’s population is ageing at a rapid rate.

By 2030, it’s estimated that almost one in four citizens will be aged 65 and above.

The life expectancy for a Singaporean born today is a little under 84 years, with residents benefitting from a high quality of life and a world-class healthcare system.

But this demographic shift is set to challenge the city-state over the next six decades.

An ageing population will inevitably require more investment in the medical sector, while the country’s workforce could face shortages of younger workers.

“The resulting strain will not only test the resilience of healthcare institutions but also place significant emotional, physical, and financial pressure on family caregivers,” said Chuan De Foo, a research fellow at the National University of Singapore’s (NUS) Saw Swee Hock School of Public Health.

While the authorities are looking to expand and strengthen healthcare facilities, they are also urging citizens to make better lifestyle choices in order to stay healthier for longer. New marketing campaigns encourage regular health check-ups, allowing for early intervention, while new technology is also being utilised.

“AI-driven tools are being developed to support mental wellbeing, detect early signs of clinical deterioration and assist in diagnosis and disease management,” Foo told Al Jazeera.

Fewer babies

Alongside living longer, Singaporeans – like many advanced Asian economies – are also having fewer babies, adding to the country’s demographic woes.

The fertility rate, which measures the average number of children a woman is expected to have in her lifetime, fell below 1.0 for the first time in 2023 and shows little sign of increasing.

That figure is even lower than Japan’s fertility rate of 1.15. This week, Japan reported its 16th consecutive year of population decline, with nearly a million more deaths than births in 2024.

Kalpana Vignehsa, a senior research fellow at NUS’s Institute of Policy Studies think tank, said the Singapore government is “swimming against a cultural tide” in its efforts to reverse the decline in births.

“Now is the time for expansive action to make parenting less expensive, less stressful, and most importantly, a highly valued and communally supported activity,” said Vignehsa.

An unstable world

Singapore is renowned for its neutral approach to foreign policy, balancing strong ties with both China and the United States.

But as relations between the world’s two biggest superpowers become increasingly strained, the Lion City’s neutrality could be challenged.

Any pivot towards Washington or Beijing is likely to be subtle, said Alan Chong, senior fellow at the S Rajaratnam School of International Studies.

He said that this situation occurred during the COVID pandemic, when Washington was not forthcoming with assistance for Asian economies.

“Almost all of Southeast Asia, including Singapore, tilted towards Beijing for economic support without announcing it,” said Chong.

US President Donald Trump’s punitive tariff policy has also caused consternation in the Southeast Asian business hub, which relies heavily on global trade.

Despite the threat from Washington’s increasingly protectionist policies, Chong believes that Singapore is prepared to weather the storm after signing a trade pact in 2020.

The Regional Comprehensive Economic Partnership was agreed between 15 mainly Southeast Asian countries, plus major North Asian economies including China, Japan and South Korea.

“It’s a huge insurance against any comprehensive global trade shutdown,” said Chong.

Stability at home

While the international outlook appears increasingly troubled, Singapore’s domestic political scene is set for more stability over the coming years.

The ruling People’s Action Party (PAP) has been in power since the country was formed and shows no signs of losing control.

In May’s election, the PAP, led by new Prime Minister Lawrence Wong, won all but 10 seats in parliament with just over 65 percent of the vote.

While the country’s leaders are likely to stay the same in the near-term, Teo Kay Key, research fellow at the Institute of Policy Studies Social Lab, said younger Singaporeans will soon want a different style of politics, one that is more open and more participatory.

“They are more likely to favour discussions and exchange of views,” she said.

“There is also a growing trend where the preference is to conduct open discussions, with a more democratic exchange of ideas,” she added.

Building Lego is something forward Lauren Hemp has done for years. She built a Beauty and the Beast castle while in Switzerland, which she proudly carried as the Lionesses checked out of the hotel before flying home on Monday.

Hemp managed to get others on board too, with teenager Agyemang also getting involved.

“I was building a really tiny stadium the other day because I was bored and suddenly Lucy [Bronze] was like, ‘we can make this so much better’,” said Agyemang, who was the breakout star of the tournament.

“I didn’t know she had really good skills when it came to Lego. We made a replica of the stadium and now she wants to make it a tradition, so I think we’ll have to do Geneva next time.”

Agyemang certainly kept herself busy, playing a piano that was brought over by the England kitman in a van.

“I play the piano, the bass guitar and the drums. I have my piano in my room so I’m spending a lot of time in there just playing and chilling,” she told BBC Sport.

“It’s 88 keys, so full size – but not a grand piano. It’s very important. I don’t think that there’s a day that I go without playing it because it’s right in front of me.

“Especially on game days, I probably spend about two hours just playing and enjoying myself.

“With evening games, where they are six o’clock or nine o’clock [kick-offs], there is a lot of time within the day to just chill and that is what I do.”

Agyemang’s piano playing has been so impressive it put off Williamson from playing, who performed with the BBC Concert Orchestra at Maida Vale Studios in December 2023 when she was recovering from an anterior cruciate ligament injury.

“I did bring a portable keyboard and I felt discouraged because I heard some of the other girls in the team had been playing theirs,” said Williamson.

“I felt like I was too far behind so I left it. There’s so much socialising to be done I don’t have time for hobbies. I will pick that up when I get back.”

Meanwhile, defender Esme Morgan encouraged the squad to produce basketball trick shots for a social media video in the group stages.

Chloe Kelly told BBC Sport that Morgan turned her room into a beauty salon to ensure the Lionesses looked their best on the big stage.

“We enjoy spending time together away from the pitch, which is really nice,” said Kelly.

“Whether that is Esme [Morgan] opening her beauty salon to do lash lifts, or sitting down and watching Love Island.

“It means when you go on to the pitch you know you’ve got each other’s backs.”

There were three television characters who really mattered to me as a kid: Michael, Leroy and Theo.

In elementary school, “Good Times” was the television show that most closely resembled my family. And seeing reruns of Ralph David Carter’s portrayal of a precocious young boy learning what it means to be poor, gifted and Black is what moved his Michael from fiction to family for me.

By middle school, I was no longer wearing cornrows like Gene Anthony Ray, but I tried everything else to be like his character Leroy from the television show “Fame.” For some of my classmates, the performing arts were a fun way to express themselves, and the show was inspirational. For me, it was my way out of the hood, and Leroy was the blueprint. Through the Detroit-Windsor Dance Academy, I was able to take professional dance lessons for free and ultimately earned a dance scholarship for college.

But it wasn’t a linear journey. Despite being gifted, I struggled academically and required summer classes to graduate from high school. That’s why I connected with Theo, whose challenges in the classroom were one of the running jokes on “The Cosby Show.” The family never gave up on him, and more importantly, he didn’t stop trying.

Through the jokes about his intelligence, the coming-of-age miscues (and the dyslexia diagnosis), the storylines of Theo — like those of Leroy and Michael — often reflected struggles I foolishly thought no one else was experiencing when I was growing up. It is only through distance and time are we able to see moments like those more clearly. In retrospect, the three of them were like knots I held onto on a rope I had no idea I was climbing.

This is why the Black community’s response to the death of Malcolm-Jamal Warner this week isn’t solely rooted in nostalgia but also in gratitude. We recognize the burden he’s been carrying, so that others could climb.

When “The Cosby Show” debuted in 1984, there were no other examples of a successful two-parent Black family on air. We were on television but often trauma and struggle — not love and support — were at the center of the narratives. So even though Black women had been earning law degrees since the 1800s — beginning with Charlotte E. Ray in 1872 — and Black men were becoming doctors before that, the initial response from critics was that the show’s premise of a doctor-and-lawyer Black couple was not authentically Black.

That narrow-minded worldview continued to hang over Hollywood despite the show’s success. In 1992, after nearly 10 years of “The Cosby Show” being No. 1 — and after the success of “Beverly Hills Cop II” and “Coming to America” — the Eddie Murphy-led project “Boomerang” was panned as unrealistic because the main characters were all Black and successful. The great Murphy took on the Los Angeles Times directly in a letter for its critique on what Black excellence should look like.

However, Black characters like Michael, Leroy and Theo had been taking on the media since the racist film “The Birth of a Nation” painted all of us as threats in 1915. It could not have been easy for Warner, being the face of so much for so many at an age when a person is trying to figure out who he is. And because he was able to do so with such grace, Warner’s Theo defined Blackness simply by being what the world said we were not. This sentiment is embodied in his last interview, when he answered the question of his legacy by saying: “I will be able to leave this Earth knowing and people knowing that I was a good person.”

In the end, that is ultimately what made his character, along with Leroy and Michael, so important to the Black community. It wasn’t the economic circumstances or family structure of the sitcoms that they all had in common. It was their refusal to allow the ugliness of this world to tear them down. To change their hearts or turn their light into darkness. They maintained their humanity and in the process gave so many of us a foothold to keep climbing higher.

YouTube: @LZGrandersonShow

New Delhi, India – In a career marked by chart-topping music and highly acclaimed performances, Punjabi actor Diljit Dosanjh is cruising towards yet another milestone on his list: Delivering the highest-grossing Punjabi film.

“Sardaar Ji 3”, the latest horror-comedy by Dosanjh, one of Asia’s most bankable artists, has been shattering records abroad. But, in his own home country, India, the film has not been released and remains out of bounds for more than one billion people.

Dosanjh and his latest film – released globally on June 27 – have been marred by a political and cultural controversy over the nationality of his film’s co-star, Hania Amir, a Pakistani actor.

Last year, Dosanjh sold out arenas in the US, Canada, and across Europe during his Dil-Luminati world tour. He became the first Indian artist to perform at the Coachella festival in California and, more recently, walked down the Met Gala carpet in an iconic turban. Dosanjh has also carved out a unique space for himself in Bollywood as both a crowd-puller and a critical favourite.

But at home, he is now facing calls for a boycott and the impounding of his passport. Film critics and political analysts, however, say this is part of a growing pattern of censorship and an attempt to restrict artistic freedom in India, to heed the nationalists’ demands.

So, why is India blocking the work of one of its most successful artists?

Why is Dosanjh’s latest film controversial?

Sardaar Ji 3, the third instalment of the popular horror-comedy franchise directed by Amar Hundal, stars a popular Punjabi pair – Dosanjh and Neeru Bajwa – in lead roles, alongside Pakistan’s Hania Aamir.

Shortly after the film’s production was wrapped in April this year, suspected rebels in Indian-administered Kashmir’s resort town of Pahalgam killed 26 people, all but one of them tourists.

New Delhi immediately blamed Pakistan, which it said had supported the deadly “terrorist attack”, but Islamabad denied involvement. In the coming days, the two countries engaged in a four-day conflict, the most expansive between the nuclear-armed neighbours in decades.

When Dosanjh released the trailer for his upcoming film last month, the casting of Aamir took many by surprise – and prompted outrage.

Why has the Indian government blocked Sadaar Ji 3?

The film has not received certification from India’s Central Board of Film Certification (CBFC) and has not been released in Indian cinemas.

The Indian government also “geoblocked” (restricted online access to) the film’s trailer in India; however, the teaser and film’s album, which do not include shots of Aamir, remain accessible.

Following the Kashmir attack in April, the Indian government swiftly brought in a series of digital crackdowns. This included blocking thousands of Pakistani social media handles on platforms like Instagram and X (formerly Twitter), including the accounts of celebrities such as Aamir, Fawad Khan and Mahira Khan.

The government, which is led by Prime Minister Narendra Modi, also blocked access to the social media accounts of Pakistani journalists and news outlets in India.

The government then issued an advisory on May 8, directing all video platforms, streaming services and digital intermediaries to immediately remove Pakistani-origin entertainment content, including web series, films, songs, podcasts and other media.

In addition, the government banned 16 prominent Pakistani YouTube channels, including those of Geo News, ARY News, and Samaa TV, which collectively had more than 63 million subscribers, for allegedly spreading misinformation, provocative narratives, and content targeting India’s armed forces and sovereignty.

Rahul Desai, a Mumbai-based film and TV critic, said blocking access to films over casting choices has become “an excuse to antagonise Pakistan” under the current government.

“It’s a vicious cycle because a lot of the cinema is informed by pro-establishment choices in India,” he told Al Jazeera.

“This has become a very neat medium for people to vent against Pakistan, just like cricket sometimes does.”

Today, the reality-based creative boundaries in India are neat, Desai said: “Do not cast artists from the other side of the border, and a lot of filmmakers self-censor themselves.”

Are cross-border artistic collaborations common?

Yes, they are. Pakistani actors are not allowed to work in India, so shoots involving them have to be carried out abroad.

“Music departments of [Pakistan’s] films used to contribute a lot to Indian cinema at least a decade or two ago in the 2000s,” said Desai. The release of the curated music show franchise, Coke Studio Pakistan, which had 15 seasons from 2008 to 2024, was almost “like a cultural moment in India”, he added.

But over the past two decades, there have been multiple instances of cross-border collaborations of artists, but they have faced boycotts and anger on both sides of the border due to political tensions between the South Asian neighbours.

For the Punjabi film and music industries, the situation is even more complex.

The partition of British India, which resulted in the creation of Pakistan with borders drawn overnight, cuts through Punjab, and millions on each side share culture and linguistic ties.

Successful Punjabi franchises like Chal Mera Putt, known for its Pakistani cast, face uncertainty, especially the upcoming Chal Mera Putt 4, amid growing demands to avoid Pakistani involvement.

“There’s obviously a lot of bullying involved by the establishment over casting Pakistani actors,” said Desai. “There’s a lot of banning and trolling involved. There’s a lot of anxiety and tension associated with such choices.”

What do Indian film bodies say about Sadaar Ji 3?

Indian film associations, particularly the Federation of Western India Cine Employees (FWICE) and the All Indian Cine Workers Association (AICWA), have voiced strong objections to the casting of Aamir in Dosanjh’s Sardaar Ji 3.

FWICE, headed by President BN Tiwari, labelled the collaboration a “betrayal of the nation” and accused Dosanjh of “disrespecting national sentiments and the sacrifices of Indian soldiers”. It demanded a complete ban on the film in India.

The body also issued appeals to India’s CBFC to withhold certification for Sardaar Ji 3 and emphasised noncooperation with Pakistani artists.

AICWA echoed these sentiments, condemning the film’s producers for prioritising Pakistani talent over Indian artists and calling for a widespread boycott of Dosanjh across the industry, including by music companies and event organisers.

Ashoke Pandit, the president of the Indian Film and Television Directors’ Association, told a local newspaper: “We are going to take action and tell the producers not to work with [Dosanjh].

“He should be fully boycotted in the country by music labels and the Punjabi film industry. Diljit is a compulsive Pakistani lover.”

However, Ira Bhaskar, a former CBFC Board member and retired professor of film studies at New Delhi’s Jawaharlal Nehru University, said this episode is a reflection of the establishments of India and Pakistan, rather than pointing to a deeper divide between the people of the two countries.

“The Indian government [since Modi came to power] has not only understood the power of mass media, especially cinema, but is invested in taking control of the narratives that circulate in the public domain,” Bhaskar said.

What has Dosanjh said about the furore over Sadaar Ji 3?

Dosanjh told BBC Asian Network earlier this month: “When this film was made, everything was fine.

“We shot it in February, and things were OK back then. After that, a lot of big things happened that were beyond our control,” the singer-actor said, referring to the Kashmir attack and the ensuing conflict.

“So the producers decided that the film obviously won’t be released in India now, so they’ll release it overseas. The producers have invested a lot of money, and when the film was being made, nothing like this was happening,” Dosanjh said.

How well has Sardaar Ji 3 done globally?

Dosanjh told the BBC that the film’s producers were aware of the potential financial loss from pulling out of a territory like India, the world’s most populous country. The previous film in the franchise – Sadaar Ji 2 – made nearly $3m at the box office in India.

Dosanjh has continued promoting his film on his social media handles, including sharing images from sold-out shows in Pakistan, where the movie has shattered records for Indian releases. Globally, the film has taken $7m at the box office, against a budget of $4m. In Pakistan, it is the highest-grossing Indian-made film in history, pulling in $1.4m so far.

In India, Desai, the critic, said “censorship goes way beyond casting … It extends to the themes of the stories that people are allowed to tell now in India.”

Are any other of Dosanjh’s works facing problems?

Yes. The release of Dosanjh’s film, Panjab ’95, directed by Honey Trehan in 2022, has stalled, primarily because of stringent demands from India’s Central Board of Film Certification (CBFC), which has delayed its clearance since the project was submitted in December 2022.

The biographical drama about the life of human rights activist Jaswant Singh Khalra, who exposed 25,0000 extrajudicial killings and disappearances of Sikhs in Punjab during the 1980s and 1990s, was given 120 suggested cuts, including removing references to political figures, documented human rights abuses, and even the protagonist’s name.

Trehan told Al Jazeera: “The CBFC was established as an independent body, which could protect artists, so that the government should not influence the art … [but] the government is arm-twisting filmmakers and their films.”

Desai, the critic who watched Panjab ’95 in a private screening, told Al Jazeera: “It’s such a well-made film that it might incite a sense of revolution among people today, especially people who are not happy with the establishment. So, we can see where a lot of the insecurity is coming from.”

Dosanjh and Trehan have publicly refused to accept the suggested cuts. And the film remains in limbo. Its scheduled premiere was pulled from the Toronto International Film Festival (TIFF) in 2023, and subsequent invitations from other international festivals were declined.

In 2012, Cassidy Krug competed in her first and last Olympics. Raised by two diving coaches, Krug was in diapers when she started dreaming of competing.

At 27 years old, she had a shot at the Olympic bronze medal but landed in seventh place instead. Krug decided to retire, something she’d already been considering for three years. But how do you move forward in life when diving is the only thing you’ve ever known?

Shelf Help is a wellness column where we interview researchers, thinkers and writers about their latest books — all with the aim of learning how to live a more complete life.

Krug tried to replace her passion for diving with a corporate career. But after seven years in advertising and brand strategy, she felt lost and without the purpose and motivation she’d once felt for her sport. Fascinated by the endless options of what to do next, Krug wrote “Resurface: A Guide to Navigating Life’s Biggest Transitions.”

The Times spoke with Krug about why we’re so resistant to uncertainty and what tools we can use to get comfortable with change.

This interview has been condensed and edited for clarity.

Why do you think transitions are an important part of life?

Transitions are an important part of life because they’re an inevitable part of life. An author named Bruce Feiler estimates that we have three to five “lifequakes” in our lives — major shifts that change our habits, our identities, our communities and our sense of purpose. These shifts are even more frequent now that it feels like the pace of change in the world is speeding up. The more we can embrace change, rather than try to hold on to our old ways, the more set up we will be to adapt and move forward.

“During a transition, we often need to change our definition of success,” says Cassidy Krug, author of “Resurface: A Guide to Navigating Life’s Biggest Transitions.”

(Natalie Fong)

For this book, you interviewed people going through all kinds of life transitions, from changing careers to leaving prison. What did you find to be universal truths about these transitions?

There were two: that transitions take away our sense of community, and that during a transition, we often need to change our definition of success. Stanley — the man I interviewed who left prison after 20 years — told me that when he did, he lost the sense of camaraderie he felt while there. He also realized that he’d previously defined success by having a family and a stable job. When he left prison, he needed to redefine success to include the impact he’d had on other people’s lives while in prison. Though my experience was not the same, I also felt a huge loss of community and the need to redefine success while leaving diving.

In the book, you write that as humans, we are resistant to change and feel a need for certainty. Why are we so resistant to such an inevitable part of our lives, and how can we overcome this?

We often waver between the need for stability and a desire for change and growth. Right now, as a society, our expectations for certainty are ever-increasing. Twenty years ago, there were no dating apps that could assess my compatibility with a partner and no Yelp reviews that could predict if I’d like where I chose to eat dinner. Now with generative AI, there are many more avenues that market a false sense of security, and I think those avenues give us even more anxiety when it comes to the inevitable moments when we are uncertain. One way to fight that need for certainty is to put ourselves in difficult and uncertain situations. The ability to live in uncertainty is a muscle: The more we rely on external things to give us a sense of certainty, the less capable and the more anxious we feel when we don’t have those crutches around.

In the book, you write that a transition never ends. What do you mean by that?

I used to think of transitions as beginning, middle, end. Instead, psychologists use the phrases moving into, moving through, and moving out of to describe transitions, acknowledging that they rarely yield a clear-cut endpoint. My friend Nora, whom I write about in the book, expected that once she was in remission from cancer, she would move forward and thrive. In reality, she’s in remission, but she has brain fog, fatigue and lingering health issues that will change her life moving forward. The damaging and false expectation is that transitions end. Often, in reality, we don’t return to our previous state, and our transition instead ripples into our future — but that rippling change means ongoing growth and forward movement.

In Cassidy Krug’s “Resurface: A Guide to Navigating Life’s Biggest Transitions,” interviewees range from a cancer survivor to injured athletes to a man starting over after 20 years in prison.

(Cassidy Krug)

How can we move forward after leaving something important to us behind?

Rituals are a great way to honor what we’re leaving behind, commemorate how it shaped us and help incorporate the lessons from it into our evolving identities. Just like holding a funeral for a lost loved one, people find creative ways to honor different parts of their lives coming to a close. One woman I interviewed who struggled with infertility threw herself a menopause party complete with tampons wrapped in ribbons and women telling their first period and menopause stories. [Author] William Bridges said that change is something that happens to us, and transition is how we choose to react to that change. I think there’s a third step to that — how we interpret that transition — and rituals can help us do so in a way that moves us forward.

What would you recommend someone do when they’re paralyzed by the thought of an upcoming change?

Firstly, I’d recommend someone reframe their anxiety by spinning those fears into opportunities. “I’m afraid to leave this job because I don’t know what will happen” can become “If I leave, there will be so many opportunities open for me, and I’m going to have my own back.” Secondly, it’s important to start with something small and concrete. The idea of finding a new passion is paralyzing, but asking yourself what you’re interested in and finding a small step you can take in the direction of exploring that interest feels much more manageable.

What would you say to someone who’s not sure if they’re ready to make a big jump?

An author named Annie Duke wrote a book called “Quit” — in it, she writes that by the time a decision appears to be 50/50, it is probably better for your upcoming happiness if you move on. We have a societal bias towards grit, and every success story seems to be of someone who had an idea and then overcame obstacles and then succeeded. Stories forget to include all the things that person quit before they chose and invested in the right path. We don’t quit nearly as often as we should, so if you’re thinking about quitting something, do it.

Now that you’ve finished writing your book, you’re going through a period of transition again. How do you feel about it this time around?

There’s grief and loss associated with all transitions. Something I have to remind myself of with each transition I face is that there will be a period where I don’t know what’s next, and that’s normal. Things aren’t supposed to last forever, and I have to remind myself to breathe into the opportunity that temporariness brings, rather than the fear. I think many of us are overwhelmed by possibilities — there are many things we could do, but we don’t know which path to take. I’m in the aftermath of a project I felt so certain about, and my instinct is to wait for that certainty to hit me again before taking a step in any direction. But if I do that, I’ll be waiting forever. What I need to do is ask myself is, “What am I curious about? What is driving me?” and then invest time into exploring it — that is how I’ll figure out what my passion is going to be next.

(Maggie Chiang / For The Times)

BBC Sport pundits Tim Henman and Todd Woodbridge look at how Jannik Sinner has been able to transfer his athleticism from his past as a skier onto the grass court, particularly with his ability to hit shots on the slide after the Italian won his first Wimbledon title by beating Carlos Alcaraz in the final.

Watch live coverage from every court on BBC iPlayer.

Available to UK users only.

WASHINGTON — National Guard troops and immigration agents on horseback, clad in green uniforms and tactical gear, trotted into MacArthur Park on Monday, surrounding the iconic square with armored vehicles in a show of force widely denounced as gratuitous. The enforcement operation produced few tangible results that day. But the purpose of the display was unmistakable.

The Trump administration’s monthlong operation in Los Angeles, which began on June 6 with flash raids at work sites and culminated days later with Trump’s deployment of Marines and the Guard, continues to pay political dividends to a president who had been in search of the perfect foil on his signature issue since retaking office, officials close to the president told The Times.

At first, officials in the West Wing thought the operation might last only a week or two. But Trump’s team now says the ongoing spectacle has proven a resounding political success with few downsides. Thus far, the administration has managed to fend off initial court challenges, maintain arrests at a steady clip, and generate images of a ruthless crackdown in a liberal bastion that delight the president’s supporters.

It may be premature for the president to declare political victory. Anger over the operation has swelled, prompting activism across California. And signs have emerged that the White House may be misreading Trump’s election mandate and the political moment, with new polls showing public sentiment turning nationwide on the president’s increasingly aggressive enforcement tactics.

The city has struggled to cope, hobbled by an unpopular mayor and a nationally divisive governor who have been unable to meaningfully respond to the unprecedented federal effort. But the raids have also provided California’s Democratic governor, Gavin Newsom, with an opportunity to fill a leadership vacuum as his party grapples to find its footing in the resistance.

Lawsuits could still change the course of the operation. A crucial hearing set for Thursday in a case that could challenge the constitutionality of the operation itself.

But critics say the pace of litigation has failed to meet the urgency of the moment, just as the president’s aides weigh whether to replicate their L.A. experiment elsewhere throughout the country.

To Trump, a gift that keeps on giving

Trump has succeeded in the most significant legal case thus far, with the U.S. 9th Circuit Court of Appeals allowing him to maintain control of the California National Guard. Troops remain on L.A. streets despite protests that the administration cited to justify their deployment in the first place ending weeks ago. And the administration has put the city on the defensive in a suit over the legality of its sanctuary city policy.

One White House official told The Times that the administration’s aggressive, experimental law enforcement tactics in Los Angeles have proven a “grand success,” in part because national media coverage of the ongoing crisis has largely moved on, normalizing what is happening there.

A spokesperson for the White House said the administration’s mission in the city is focused on detaining migrants with violent criminal records, despite reporting by The Times indicating that a majority of individuals arrested in the first weeks of the operation were not convicted criminals.

“President Trump is fulfilling his promise to remove dangerous, criminal illegal aliens from American communities — especially sanctuary cities like L.A. that provide safe harbor to criminal illegals and put American citizens at risk,” said Abigail Jackson, a White House spokesperson.

“One month later it’s clear, President Trump is doing his job to protect American citizens and federal law enforcement,” Jackson added. “But Gavin Newsom and Karen Bass have enabled violent rioters who attacked federal law enforcement, protected violent criminal illegal aliens, and betrayed the trust put in them by the American people.”

Trump’s use of Los Angeles as a testing ground to demonstrate raw presidential power has shown his team just how much a unitary executive can get away with. Masked agents snatching migrants has sent a chill through the city and its economy, but there is no end in sight for the operation, with one Homeland Security official telling The Times it would only intensify going forward.

Immigration and Customs Enforcement and Customs and Border Protection have arrested nearly 2,800 people in the L.A. area since the crackdown began.

This week, California Sen. Alex Padilla, a Democrat, introduced a bill with Democratic Sen. Cory Booker of New Jersey that would bar immigration officers from wearing masks and require them to display clear identification while on the job.

“They wouldn’t be saying that if they didn’t hate our country,” Trump said Wednesday, responding to the legislation, “and they obviously do.”

Trump could still face setbacks

The 9th Circuit ruling last month, allowing Trump to maintain temporary control over the California National Guard, thwarted momentum for Trump’s opponents hoping for a decisive early victory against the operation in federal court.

But a case brought by the American Civil Liberties Union and joined by the city of Los Angeles, set for arguments in court on Thursday, addresses the core of the raids themselves and could deal a significant policy blow to the Trump administration. The ACLU has found success in another case, over raids conducted earlier this year by Border Patrol in the Central Valley, using similar arguments that claimed its tactics were unconstitutional.

“It is far too early to say that challenge has been thwarted,” said Ahilan Arulanantham, co-director of the Center for Immigration Law and Policy at UCLA School of Law.

But Arulanantham argued that city and state officials have demonstrated a lack of leadership in the pace of their response to an urgent crisis.

“There is much more local leaders could be doing to challenge the unlawful actions the federal government is taking against their residents,” he added. “The state also could have sued but did not — they sued to challenge the guard deployment, but not the ICE raids themselves.”

The raids have generated favorable coverage for the administration on right-wing media, presenting the crackdown as Trump finally bringing the fight over immigration to the heart of liberal America. But it is unclear whether Americans agree with his tactics.

Polls released last month from Economist/YouGov and NPR/PBS News/Marist found that while a plurality of Americans still support Trump’s overall approach to immigration, a majority believes that ICE has gone too far in its deportation efforts.

Newsom, speaking this week in South Carolina, a crucial state in the Democratic presidential primary calendar, suggested he saw the president’s potential overreach as a political opportunity.

“They’re now raiding the farms,” he told a crowd. “Quite literally, federal agents running through the fields.”

The governor told the story of a teenage boy from Oxnard whose parents disappeared in a federal raid, despite having no criminal records, leaving their son helpless and alone.

“That’s America,” he said, “Trump’s America.”

What else you should be reading

The must-read: Stephen Miller finally gets his revenge on L.A.
The deep dive: Kidnappers or ICE agents? LAPD grapples with surge in calls from concerned citizens
The L.A. Times Special: Most nabbed in L.A. raids were men with no criminal conviction, picked up off the street

More to come,
Michael Wilner
—
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Happy Birthday, America!

Today, you turn 249 and, honestly, you don’t look a day over 248. (Ha ha.)

Seriously, it’s perfectly understandable why there’s more gray on your scalp and deeper worry lines on your face. This last year has been challenging, to say the least.

A convicted felon and adjudicated sex abuser was elected president — history made! — and ever since has worked tirelessly and diligently to establish himself as the nation’s first monarch, and a fabulously remunerated one at that.

Federal troops are occupying the nation’s second-largest city, over the objection of the state’s leaders, as masked agents scoop people off the streets of Southern California for the temerity of venturing out with brown skin and an accent.

Our social safety net is being shredded, the country is pulling back from its international leadership in the arts and science, and we’ve squandered our global standing as a beacon of hope and compassion.

But that’s not all.

Political violence is becoming about as familiar and normalized as schoolyard shootings. In roughly the last 12 months we’ve witnessed two attempts on Trump’s life and the assassination of a Minnesota lawmaker and her husband.

Medicaid, the program that serves millions of the needy, elderly and disabled, is on the chopping block. The Federal Emergency Management Agency, which helps Americans weather the worst times after natural disaster, has been drastically depleted just as we’re heading into the fire and hurricane seasons.

As for the loyal opposition, Democrats are in bad odor with voters and even many of their own partisans after Joe Biden’s handlers gaslighted the public on the frailty and declining faculties of the octogenarian president.

Only after a cataclysmically bad debate performance, which revealed his infirmities for all to see, did Biden grudgingly stand aside in favor of his anointed successor, Vice President Kamala Harris.

Once more, Democrats are wandering the wilderness, wearing a familiar groove in their desolate pathway as they debate — again — whether to veer left or hug the center.

That’s quite the catalog.

But no one ever said this representative democracy thing was going to be easy, or endlessly uplifting.

America, you’re a big, boisterous nation of more than 342 million people, with all sorts of competing impulses and interests, and no end of certitude to go around.

In our last presidential election, we split nearly evenly, with Trump squeaking past Harris in the popular vote 49.8% to 48.3%. It was one of the narrowest margins of victory in the last century, though you wouldn’t know it from Trump’s radical actions and the servility of the Republican-run Congress.

But our differences go even deeper than the now-familiar gulf between red and blue America.

In a recently completed deep dive on the state of our democracy, researchers at UC Berkeley found an almost even divide over how to measure our political system’s success.

Slightly more than half of those surveyed said a successful democracy is one that’s adaptable and has the capacity for change, while nearly half said success stems from adherence to long-standing principles.

With that kind of stark disagreement on such a fundamental question, is it any wonder we struggle to find consensus on so much else?

But, heck, if it’s any consolation on this star-spangled holiday, the country has been through worse. Much worse. And you, America, have not only survived but also in many ways grown stronger by facing down your flaws and overcoming some knee-buckling challenges.

Slavery. Civil war. Racist exclusionary laws. Two worldwide conflicts. Depression. Financial crises. And too many deadly natural disasters — floods, fires, earthquakes, hurricanes — to possibly count.

Your treatment of some Americans, it should be said, hasn’t always been fair and just.

People are despairing over the Supreme Court and its deference to the president. But it’s worth noting that earlier court majorities held that Black Americans — “beings of an inferior order,” in the words of the notorious Dred Scott decision — could be denied citizenship, that racial segregation was constitutional and that compulsory sterilization based on eugenics was perfectly legal.

That sordid history won’t necessarily make anyone feel better about the current state of affairs, nor should it. But it does give some perspective.

All of that said, today’s a day to celebrate the good things and the bright, shining place you aspire to be, with liberty and justice for all. So, chin up, America! Have another slice of birthday cake, and don’t worry about the calories — you really do look terrific for 249!

Meantime, it’s up to us, your citizens, to keep working toward that more perfect union. Whatever ails you, America, the remedy resides with we the people and the power we hold, particularly at the ballot box. Unhappy with the wrecking crew that’s chain-sawing federal programs and allowing Trump to blowtorch the Constitution and rule of law? Vote ‘em out, starting with the 2026 midterm election.

Don’t give up hope or the belief that, as dark and difficult as things seem right now, better days lie ahead.

That abiding faith is what makes America great.

Every year, Emmy prognosticators weigh the chances of TV’s newcomers. But what about newcomers that are also old-timers?

Whether you prefer to call them remakes, revivals or reboots, reimaginations of beloved movies and TV shows are all the rage: Think of CBS’ “Matlock,” which swapped in Academy Award winner Kathy Bates for Andy Griffith as a charming lawyer who gets things done in the legal system; Peacock’s “Bel-Air,” which turned a multicam sitcom into a drama; or HBO’s “Perry Mason,” which was less about the courtroom than Mason as private investigator.

When it comes to awards season, though, reboots aren’t such a hot commodity. Max’s “Gossip Girl,” Paramount+’s “Frasier” and ABC’s “The Wonder Years” came and went with no wins, and continuations like NBC’s “Law & Order” and “Will & Grace,” Fox’s “The X-Files” and CBS’ “Murphy Brown” have generally not received the same love from voters as their original runs.

Not all reboots fizzle at the Emmys, though. Here are six examples of rethinks that not only brought back beloved series from the graveyard but made them award-worthy all over again.

‘Shōgun’ (2024-present)

Emmy wins: 18

Anna Sawai in “Shōgun.”

(Kurt Iswarienko / FX)

With 26 nominations and an astounding 18 wins, the premiere season of “Shōgun” is the first Japanese-language series to take home an Emmy for drama series. In addition to the top prize, the adaptation of James Clavell’s 1975 historical novel won awards for stars Hiroyuki Sanada (lead actor, drama) and Anna Sawai (lead actress, drama) plus a raft of below-the-line Emmys. The original miniseries’ take on Clavell’s story of colonialism and war in medieval Japan didn’t do so badly, either — in 1980 it scored 14 nominations and won three Primetime Emmys, including one for limited series.

‘Queer Eye’ (2018-present)

Emmy wins: 11

“Queer Eye” cast members Antoni Porowski, left, Tan France, Jeremiah Brent, Jonathan Van Ness and Karamo Brown.

(Netflix)

The fixer-upper series featuring five gay men zhuzhing up the lives of more staid straights was a phenomenon when it originally aired between 2003 and 2007 but was comparatively overlooked by the Emmys, picking up a win for reality program in 2004 plus three other nominations. Meanwhile, Netflix’s reboot — featuring makeovers of more than just straight guys, and a less snarky sensibility — has earned 11 Emmys to date, including six wins for structured reality program (2018, 2019-23).

‘Westworld’ (2016-22)

Emmy wins: 9

Thandiwe Newton and Aaron Paul in Season 4 of “Westworld.”

(John Johnson / HBO)

“Westworld” stands out on this list because it reimagines a feature film, not an earlier TV series — in this case, the 1973 movie written and directed by Michael Crichton and starring Yul Brynner. The film scored no top-line awards or nominations, but the HBO reboot, which premiered in 2016, landed 54 Emmy nominations and nine wins across its four-season run, including a 2018 trophy for Thandiwe Newton (lead actress, drama) for her performance as the series’ cunning madam, Maeve Millay.

‘One Day at a Time’ (2017-20)

Emmy wins: 3

Justina Machado, left, and Isabella Gomez in “One Day at a Time.”

(Ali Goldstein / Netflix)

The story of a single mom raising her growing daughters earned three nominations during its original run from 1975 to 1984, including one in 1982 for star Bonnie Franklin (lead actress, comedy); director Alan Rafkin and supporting actor Pat Harrington won. The Netflix reboot, which recast the Romanos as the Cuban American Alvarez family and shifted the action from Indianapolis to L.A., was nominated for each of its four seasons and won two, as well as a special Television Academy Honor.

‘Battlestar Galactica’ (2004-09)

Emmy wins: 3

Michael Hogan as Col. Saul Tigh, left, Edward James Olmos as Adm. William Adama, Mary McDonnell as Laura Roslin and Jamie Bamber as Lee “Apollo” Adama in the TV movie “Battlestar Galactica: Razor,” part of the popular Sci-Fi Channel franchise.

(Carole Segal / Sci-Fi Channel)

In the decades between the original 1978-79 “Battlestar” and the full-throttle reboot, science-fiction storytelling on the small screen advanced at lightspeed, which may have helped the latter last far longer than the original. The story of human refugees fleeing space colonies destroyed by Cylon robots (who were now on their tail) earned the original series three nominations and two Emmy wins in below-the line categories. The reboot ended up with three Emmy wins of its own from 19 nominations, though all the wins were for special effects and sound editing. (A 2003 backdoor pilot became a three-hour miniseries and also earned three Emmy nominations.)

‘The Conners’ (2018-25)

Emmy wins: 1

Maya Lynne Robinson, left, Jayden Rey, Michael Fishman, John Goodman, Laurie Metcalf, Sara Gilbert, Emma Kenney, Ames McNamara and Lecy Goranson in “The Conners.”

(Robert Trachtenberg / ABC)

Let’s call this one an unplanned reboot. After ABC canceled its 2018 “Roseanne” revival due to star Roseanne Barr’s public flameout, the quick-thinking network teed up “The Conners,” which follows the titular family after its matriarch’s untimely death. Falling somewhere between a traditional revival and a full-on reboot, “The Conners” hasn’t matched the original “Roseanne’s” Emmy haul, which included 25 nominations and four wins (three for Laurie Metcalf and one for Barr). But the series, which recently concluded its own seven-season run, has performed solidly with voters, earning six nominations and one win in 2021 for editing in a comedy series.

Universal Pictures’ “How To Train Your Dragon” soared over the competition this weekend, as family-friendly films continued their dominance at the box office.

The live-action adaptation of the animated franchise from DreamWorks Animation grossed $83.7 million in its opening weekend in the U.S. and Canada, according to studio estimates.

It beat out fellow live-action remake “Lilo & Stitch” from Walt Disney Co., which hauled in $15 million over the weekend for a cumulative total of $366 million so far after 24 days. A24’s “Materialists,” Paramount’s “Mission: Impossible — The Final Reckoning” and Lionsgate’s “Ballerina” rounded out the top five.

Expectations were high for the Universal film, which revives a profitable franchise for the studio.

The original animated movie was released in 2010 and grossed nearly $495 million in global box office revenue. A sequel soon followed in 2014 and brought in more than $621 million worldwide. The most recent film in the trilogy, “How to Train Your Dragon: The Hidden World” came out in 2019 and made almost $540 million globally.

“How to Train Your Dragon” comes at an opportune time for family films. After a lackluster first quarter at the box office, theater attendance has been turbocharged, at least in part by the success of kid-friendly movies such as Warner Bros. Pictures “A Minecraft Movie” and Disney’s “Lilo & Stitch.”

Though family audiences were initially slow to return after the pandemic, movies that appeal to those theatergoers have turned out to be box office juggernauts.

Last summer, Disney and Pixar’s “Inside Out 2” and Universal and Illumination Entertainment’s “Despicable Me 4” drove theater revenues at a time when the industry was collectively wringing its hands after a slow Memorial Day weekend.

This summer, “How to Train Your Dragon” and “Lilo & Stitch” are demonstrating the power of the hybrid film, which combines live actors with computer-animated creatures — a strategy that has proved valuable, said David A. Gross, who writes movie industry newsletter FranchiseRe.

The trend began back in 1988 with Robert Zemeckis’ “Who Framed Roger Rabbit” but has seen recent success with films like Paramount’s “Sonic the Hedgehog” franchise and StudioCanal’s “Paddington” movies.

“It’s just a logical step in computer filmmaking,” Gross said. “It’s a very powerful storytelling tool.”

The Wire cast featured faces who were relatively unknown at the time

Over 17 years later, The Wire continues to be celebrated as one of the finest crime drama TV series ever produced. First gracing our screens in June 2002, The Wire garnered immense popularity, airing 60 episodes on HBO until 2008, and finding a home in the UK on FX and subsequently BBC Two.

Each season spotlighted a different city institution and its interaction with law enforcement, whilst maintaining storylines and characters from previous seasons. Since the hit series wrapped up, some of its actors have retired from acting, others have bagged major awards, and some have sadly passed away.

Let’s take a look at what became of The Wire cast after the series concluded:

Dominic West – Jimmy McNulty

Dominic West’s portrayal of Detective Jimmy McNulty in The Wire was his breakthrough role. Post-series, he starred in The Affair, earning a Golden Globe nomination, and played Prince Charles in The Crown, reports the Mirror US. He also embodied Jean Valjean in the 2018 BBC miniseries adaptation of Les Misérables. Dominic has featured in films such as Chicago, 300, The Square, Tomb Raider, and Downton Abbey: A New Era.

In 2024, he was named as the new ambassador of Julian House, a Bath-based charity supporting vulnerable individuals.

Idris Elba – Russell ‘Stringer’ Bell

Idris Elba, arguably the most prominent star to emerge from The Wire, later took on roles such as DCI John Luther in Luther, Nelson Mandela in Mandela: Long Walk to Freedom, and featured in films like Beasts of No Nation, American Gangster, and the Thor series. In 2025, he fronted the BBC documentary Idris Elba: Our Knife Crime Crisis, addressing the escalating issue of knife crime in the UK and exploring potential solutions.

Beyond his acting career, Idris is also recognised for his work as a DJ under the alias DJ Big Driis and as an R&B singer. He was crowned the Sexiest Man Alive in 2018 by People Magazine, and co-owns the Kiro Race Formula E team.

Michael B. Jordan – Wallace

One of Michael B. Jordan’s earliest roles was as Wallace in The Wire. He later gained further acclaim in Friday Night Lights, Chronicle, and Fruitvale Station. He also starred as Adonis Creed in the Creed franchise – a spin-off of the Rocky films – and as Erik Killmonger in Black Panther and its sequel.

In 2025, he showcased his versatility in the film Sinners, portraying twin brothers Smoke and Stack Moore. The film, directed by Ryan Coogler, blends historical drama with supernatural horror and has been lauded for its unique narrative and visual style.

In 2022, Michael became a minority owner at Premier League side AFC Bournemouth – even designing two limited-edition kits for the team.

Maestro Harrell – Melvin ‘Cheese’ Wagstaff

Maestro Harrell, who played Cheese in The Wire, has since appeared in shows like The Deuce and films such as Trainwreck and Keanu. He’s also made a name for himself in the EDM scene with tracks like For You and Which One Which.

In 2024, he lent his voice to the character Inaki in Mufasa: The Lion King.

Amy Ryan – Beatrice ‘Beadie’ Russell

Amy Ryan, who portrayed Beadie Russell in The Wire, earned an Academy Award nomination for her role in Gone Baby Gone and is also recognised for playing Holly Flax in The Office. She has starred in films like Birdman, Bridge of Spies, and Central Intelligence. In 2023, she took on the role of Grace in Ari Aster’s psychological horror film Beau Is Afraid.

John Doman – Major William Rawls

John Doman, who played the ambitious and politically astute Major William Rawls in The Wire, has since taken on significant roles such as Rodrigo Borgia in Borgia, Senator Ross Garrison in Person of Interest, and Helen’s father in The Affair. He also featured as Bishop Charles Eddis in House of Cards and as the U.S. Ambassador to Germany in Berlin Station. In the gaming world, he voiced Caesar in Fallout: New Vegas.

Michael K. Williams – Omar Little

Michael K. Williams, who won acclaim for his role as Omar Little, the principled stick-up man in The Wire, went on to star as Albert ‘Chalky’ White in Boardwalk Empire, as well as in films including 12 Years a Slave and Inherent Vice. Michael was also recognised for his advocacy work, notably hosting the Vice series Black Market, which explored underground economies.

He tragically passed away in 2021 at the age of 54 due to an accidental drug overdose.

Aidan Gillen – Tommy Carcetti

Aidan Gillen brought to life the ambitious politician Tommy Carcetti in The Wire. Post-series, he gained further fame as the cunning Petyr ‘Littlefinger’ Baelish in Game of Thrones.

Aidan also featured as Aberama Gold in Peaky Blinders and as Frank Kinsella in the Irish crime drama Kin, which debuted in 2021. The show has been renewed for a third season.

Reg E. Cathey – Norman Wilson

Reg E. Cathey portrayed Norman Wilson, the experienced political operative in The Wire. He later won an Emmy Award for his role as Freddy Hayes in House of Cards.

Reg also had roles in series such as Grimm, Outcast, and Luke Cage, where he played James Lucas. He sadly died in 2018 at the age of 59.

Tom McCarthy – Scott Templeton

Tom McCarthy took on the role of ambitious journalist Scott Templeton in the final season of The Wire. Beyond acting, Tom is a successful filmmaker, having directed and co-written Spotlight, which clinched the Academy Award for Best Picture in 2016.

He also directed Stillwater in 2021 and served as an executive producer and director on Netflix’s 13 Reasons Why.

Lance Reddick – Cedric Daniels

Lance Reddick, known for his role as the upright Lt. Cedric Daniels in The Wire, also starred as Charon in the John Wick film series and appeared in shows like Fringe, Bosch, and Resident Evil. In addition to his on-screen roles, Lance lent his voice to video game characters such as Commander Zavala in Destiny and Sylens in Horizon Zero Dawn.

He passed away in March 2023 at the age of 60. His posthumous performance as Zeus in the Percy Jackson series earned him a Children’s and Family Emmy Award nomination for Outstanding Supporting Performer. He also makes a posthumous appearance in this year’s From the World of John Wick: Ballerina.

Seth Gilliam – Ellis Carver

Seth Gilliam portrayed Officer Ellis Carver in The Wire, a character who grew from a green cop into a seasoned leader. He later assumed the role of Father Gabriel Stokes in The Walking Dead and had a recurring part in Teen Wolf.

Seth continues to be active in television and film.

Former captains Virat Kohli and Rohit Sharma have shown a “blueprint” for India’s future Test success, says new skipper Shubman Gill.

Batter Gill, 25, was announced as Rohit’s replacement on Saturday after the 38-year-old and modern great Kohli both retired from the format.

Kohli led India to a record 40 wins in 68 Tests while Rohit, who replaced him in 2022, has the next best win percentage as skipper.

“I have always been inspired by the greats and legends of Indian cricket,” Gill said.

“I have been very fortunate to play with so many of them.

“Both were contrasting in terms of their style but inspiring to see them work towards a common goal.”

Gill was appointed skipper ahead of bowler Jasprit Bumrah, who had served as Rohit’s vice-captain.

His first series in charge will be the highly-anticipated five-Test series in England which starts on 20 June.

“I’m looking forward for this exciting opportunity, and I think the upcoming series in England is going to be a very exciting one,” said Gill, who is captain of Gujarat Titans in the Indian Premier League.

“I believe in leading by example, not just by my performance but, off the field, by my discipline and hard work.

“As a captain, a leader should be able to know when to step in, but also when to give space to the players.

“Because everyone has had a different life and grown up differently, everyone has a different personality.”

India were unbeaten in home series throughout Kohli’s time as captain and had significant success away, including series wins in Australia and a 2-2 draw in England.

Under Rohit they reached the final of the 2023 World Test Championship, although they were beaten by Australia and their unbeaten run at home was ended by New Zealand last year.

“Virat was very aggressive and wanting to lead from the front,” Gill said.

“Rohit was also aggressive but you might not see that on his expression.

“He was someone calm and tactically very present. He was very communicative to the players.

“Rohit, Virat and Ashwin [retired off-spinner Ravichandran Ashwin] have given us a blueprint on how to tour away from home and win matches and series.”

The lure for music stars to cinematize their success will never grow old, and the movies — in need of high-wattage attractions as ever — always seem ready to oblige. The latest to enter that terrain is Abel Tesfaye, the artist known as the Weeknd, whose chart-toppers over the last decade-plus have painted, in club colors and through his haunted falsetto, a hedonist performer’s ups and downs.

It’s one thing to croon about the aftertaste of youthful excess to a dirty, mesmerizing dance beat, however, and another to draw the subject out to a compelling feature length, which the turgid psychodrama “Hurry Up Tomorrow,” starring Tesfaye and directed by Trey Edward Shults, mostly fails to do. But not for lack of trying from the visually vibey “Waves” filmmaker, who wrote the movie with Tesfaye and Reza Fahim, and from co-stars Jenna Ortega and Barry Keoghan, roped into playing along in the superstar’s sandbox of tour-nightmare solipsism.

The title also belongs to the latest hit album of Tesfaye’s, released this year, which the singer-songwriter has hinted in the press to be a redemptive mic drop of sorts for his mysterious sex-and-drugs-fueled Weeknd persona. Whether you call the film a promotional tie-in or companion piece — it was filmed two years ago, before all the album’s tracks were recorded — it’s still little more than a long-form music video vanity project, straining for importance, fumbling at resonance.

A tight frame on Tesfaye’s boyish, anxious-looking face, his angry girlfriend’s breakup voice message (“I used to think you were a good person!”), and superficial pumping up from his manager (a bro-mode Keoghan), let us know all is not right backstage for this musician on the first night of a big tour. Elsewhere, a distraught young woman (Ortega) drenches a house’s interior with gasoline and sets it on fire, then drives to a gas station to refill her canister.

These tortured souls meet the night his coked-up, busted-heart malaise triggers a walk-off midperformance, and she’s there backstage to lock eyes with him and ask if he’s OK. (He’s not!) From there it’s an escapist date of air hockey, carnival rides and, once they settle in a fancy hotel room, the sharing of a sensitive new song.

In the cold light of day, though, when her vulnerabilities bump up against his reset untouchability — Ortega gets a great line, “You don’t look worried, you look scared” — this impulsive star/fan connection takes a violent turn. Anyone familiar with the HBO series “The Idol” that Tesfaye co-created will soon sense an unwelcome reprise of that short-lived showbiz yarn’s retrograde misogyny.

The germ of an edgy fantasia about an isolated pop icon’s ego death is swimming somewhere in the DNA of “Hurry Up Tomorrow,” but it’s been flattened into a superficial, tear-stained pity party. Shults and cinematographer Chayse Irvin are gifted image makers, but they seem hamstrung applying their bag of style tricks — different aspect ratios, multiple film stocks, 360 shots and roving takes — to so shallow and prideful an exercise. There’s always something to look at but little that illuminates.

As for Tesfaye, he’s not uninteresting as a screen presence, but it’s an embryonic magnetism, in need of material richer than a bunch of close-ups that culminate in a howl of a ballad. In the flimsy narrative’s pseudo-biographical contours — notably the real-life voice loss he experienced onstage a few years ago — parallels to what Prince sought to achieve with the real-life-drawn “Purple Rain” are understandable. But that film was a cannier bid for next-level success, offsetting its three-act corniness with emotional stakes that led to a crescendo of its genius headliner’s performance prowess.

“Hurry Up Tomorrow” is thinner and sloppier. It won’t slam the door on Tesfaye’s movie ambitions, but as a bid to conquer the big screen, it’s an off-putting, see-what-sticks wallow that treats the power of cinema like a midconcert costume change.