talent

CHICAGO — Just a few days ago, new Dodgers pitcher Tarik Skubal was on the other side, on a mid-market Detroit Tigers team that had hoped to unseat the Dodgers from the top of the league, before a disappointing season made them sellers at the trade deadline.

Still, with that perspective, he wasn’t going to entertain any talk about the Dodgers ruining baseball.

“I don’t really sympathize with people that blame the Dodgers for anything they’ve done,” Skubal said from the Barrel Room at Wrigley Field on Monday. “They’ve developed a really good organization. They draft well. They acquire talent really well. They retain talent. It’s a winning organization. Now the complaints seem to be [happening] because they’ve won the last two World Series. I don’t think it was like that three years ago. So I don’t really sympathize with people that are complaining. Because the Dodgers do all the right things.”

Skubal didn’t want to talk about his impending free agency. And he said he did not have any conversations with Tigers president of baseball operations Scott Harris about preferring to be traded to the Dodgers. Before the trade, he told Tigers reporters that he wanted to remain with the only team he’d known and compete for a championship there.

“Initial reaction, there was a lot of emotions,” Skubal said. “I spent eight years with the Detroit Tigers. That place will always be special to me no matter what. In the same breath, I’m excited to be here with these guys. When you watch them from across the way, see them do their thing on TV, you just have a lot of respect because they play the game the right way.

“The entire focus of this organization is on winning championships and that is my entire focus — playing baseball — so we’re very much aligned. I’m ready to go out there and compete and give this organization and city everything that I’ve got.”

The Dodgers put the final touches on their trade deadline, adding catching depth as Dalton Rushing went on the 10-day injured list with a sprained left elbow. The Dodgers added two backstops they’re already familiar with in Ben Rortvedt and Hunter Feduccia. They also added left-hander Kris Bubic, who is dealing with a shoulder injury.

It was clear all along, however, that Skubal was going to be the biggest splash of the deadline — for any team, really. And fuel for frustrated baseball fans upset about the Dodgers acquiring another star player.

“I think the Dodgers have done a fantastic job in player development,” said Cubs president of baseball operations Jed Hoyer, who also engaged in trade talks for Skubal. “They have a really good farm system, and Scott [Harris] did the best thing you could do for the Tigers and got a lot of talent back. And obviously they did the best thing for their team.

Dodgers pitcher Tarik Skubal throws in the outfield before the team’s game against the Chicago Cubs at Wrigley Field on Monday.

(David Banks / Associated Press)

“And he’s an incredible pitcher. I mean, there’s no question about that. And I guess we’ll see firsthand. But I know there’s been a reaction around baseball about it, but they put themselves in positions to do that deal, and they did, and that’s exactly what they should be doing.”

Skubal had accepted by the end of his last start that he was going to be moving on.

“Losing that game kind of felt like that was kind of it for me in Detroit,” he said. “So not surprised, but that didn’t make the news any easier because I love a lot of those people there. I’ve got a lot of respect about what they do and how they go about their business. A lot of those guys are like my best friends on and off the field. I wish those guys nothing but the best. I’ll be rooting for them, unless we’re playing.”

He officially starts a new chapter Tuesday, taking the mound for the Dodgers at Wrigley Field.

“They’ve been a pretty good baseball team without me,” he said. “So I’m going to show up and kind of be a chameleon in a sense and fit right in with these guys and just jell with them. They’ve got the winning recipe. They know what it takes to win.”

When Brian Grazer has an idea for a movie, he now starts with a chatbot. The co-founder of Imagine Entertainment — the company behind “A Beautiful Mind,” “Apollo 13” and “Liar Liar” — said he sits down with Anthropic’s AI assistant, Claude, to rough out a story before handing it to a writer.

“You can build the whole thing into an outline. You still need a screenwriter. I always believe you need a screenwriter,” Grazer said during a keynote at UCLA’s Entertainment Symposium on Thursday. What once could have taken up to a year, he said, now takes him about a week — but the human writer stays.

That balance — AI as an accelerant rather than a replacement — captures where much of Hollywood has landed in practice. Amazon MGM, Lionsgate, Netflix and Disney have all made major investments in the technology. The sharper question at the symposium, which drew many of the industry’s top lawyers and dealmakers to the Westwood campus, was not whether to use AI but how: who authorizes it, how far it goes and who gets paid.

For the companies building the tools, the answer increasingly comes from the client. Studios, production companies and distributors regularly approach Promise, a generative AI company, to bring AI into their productions, and each arrives with its own usage guidelines, said the company’s president, Jamie Byrne. Those rules govern which AI models Promise may use and what protections apply — effectively letting each client decide how heavily AI figures into the work.

“It comes down to a risk appetite,” Byrne said during a panel on AI. “We know that there’s talent that are staunchly against it. We know that there are many who are okay with it.”

He framed adoption as a competitive necessity: “Every time there’s a technology change, certain studios or production companies rise. Others fall, and it’s usually the ones that are not leaning into the new tool.”

Ron Howard, also of Imagine Entertainment, argued the limits will ultimately be set elsewhere — by viewers. “Sure, it’s about efficiencies and budgets, but more than anything, audiences are going to tell us where those restrictions are,” he said. He expects AI-generated content to settle into its own subgenre over time, with audiences signaling what they will accept.

The most contested ground is labor, where consent has become the dividing line. The emergence of synthetic performers such as Tilly Norwood has made AI a central issue in SAG-AFTRA’s contract. The union’s most recent agreement draws a clear line between authorized digital replicas, which use a performer’s likeness with their consent, and fully synthetic creations.

Talent agencies are organizing around the same principle. In recent years, Creative Artists Agency began digitally scanning clients into what it calls the CAA Vault, building a replica of a client’s image, likeness and voice while leaving the talent in complete control of how it is used.

That control is beginning to carry real value, said Tammy Brandt, CAA’s deputy general counsel, who said she is seeing more deals that involve digital likeness. Hollywood has been slow to work out how to monetize these replicas, she said, but once it does, audiences will start to encounter them more often.

“You have to lean into the technology and understand what it can do, and honestly, how you can make money, work with talent and with creative assets in a way that the user is interested in,” Brandt said. “There’s a little bit of trial and error as you go with that.”

What does it mean to lack ambition in a country that worships wealth? It means you are a capitalist wallflower, a laggard with a serious character flaw. No field of endeavor is immune from this attitude, the art world least of all. But artists with a desire for riches and fame must not declare their intentions so brazenly. At a time when the plastic arts are about as marginalized as they ever have been, and media buzz is generated by dead painters whose works sell for enormous sums at auction, creation in and of itself has little value unless it is lashed to something marketable.

With his new novel “Contrapposto,” Dave Eggers has written a big-hearted, deeply moving story about the choices artists make, or don’t make, to square up their own notions of success and happiness. The book is dual bildungsroman, following two friends across the long span of their lives from adolescence to their 70s, as they fall in and out of each other’s lives, make their way in the world, and fumble around for meaning and purpose in their art.

The protagonist in “Contrapposto” is Rob “Cricket” Dibb, an underclass Midwestern kid, raised by a single mother in a North Indiana suburb that’s about as nowheresville as it gets for budding artists with dreams of glory. Cricket doesn’t dream big. He’s just trying to endure without bodily harm, seeking refuge from his mother’s abusive boyfriend in the basement with his grandfather Silas, who teaches him about jazz and the beauty of a glorious sunset. He draws so he doesn’t have to think. Immersion in art is his escape hatch from the dreariness of his pinched world: “The drawing meant nothing, would never mean anything to anyone, but it was true to how he saw it. His hand had recorded what he saw and felt about this thing. He was an ugly, common creature who could occasionally freeze time. That was enough.”

Cricket’s apprenticeship is decidedly informal. No full scholarship rides to Bard or Pratt for him; instead he saves up to enroll himself in a life drawing class in Chicago, where he discovers the beauty of applying rigor and rules to his work, how to break down pictures into the geometry of circles and squares, planes and angles. “He measured proportions and improved,” writes Eggers. “He grew more confident with each pass on his drawing, and realized … that much of the rightness of the drawing, of any drawing, came through time and diligence and discernment.”

He meets his slightly older schoolmate Olympia, one of Eggers’ most beguiling creations, when she implores him to scrawl scatological bathroom graffiti on a playground structure in Old-English typography. Unlike Cricket, Olympia is earnest and sincere about her art in the way that only a young person untainted by cynicism can be. She claims to inhabit the soul of Albert Camus, and flings around aphorisms about art that fly over Cricket’s head. She is an aesthete, someone who likes to go to the race track just to revel in the colors on display there. She wants to create an art scene in their little world. “You know all the great art movements have friends at their core, right?,” she tells Cricket. “A lot of time they’re jammed together by some critics and the artists reject the name and the association. But think about Patti Smith and Sam Shepard. Did you know they dated for a while?”

Cricket is beguiled by her, and Olympia in turn is taken in by Cricket’s talent. When the local library pulls a few of Cricket’s semi-nude life drawing portraits down for fear of offending their patrons, Olympia becomes his advocate and champion. In contrast to Cricket, who skates along with no end plan, Olympia is a committed careerist, an artist who insists on a captive audience to justify her work. She wants to earn money as an artist; Cricket just wants to be left alone. This push and pull between the two frame Eggers’ novel across the six decades of his narrative.

One of many joys of “Contrapposto” is observing Cricket’s artistic awakening via the mentors who guide him into his artistic consciousness. Marcus Carpenter, a wizened sage in battered work boots (one imagines him as the art world analogue to the late novelist Jim Harrison), is the moral conscience of the novel, fighting the good fight for personal expression and railing against the “new, paradoxical tyranny wherein those without technical skill terrorize those who possess it.” Carpenter plucks Cricket from arts college and its meaningless pontificating to his “atelier in the corn,” a ramshackle Victorian where Cricket learns how to transmute what he sees with color and light. “The talented have talent,” Carpenter tells Cricket during one of his endearing rants. “The untalented have theories.”

From there, Cicket’s life is a crooked line. He doesn’t abandon art, but he can’t summon the urge to sell himself or his work, to graft his joy in making things onto the caprices of the marketplace. As Eggers jumps through time, we find Cricket working as an intern in an art gallery, an arid, lifeless space where nothing inspiring can possibly exist. As a young man he works as a ship-breaker in Turkey; in middle-age, we find him in a coastal town in Cambodia, making replicas of great paintings for tourists. Olympia, his elusive love and sporadic muse, flits in and out of his life as she works her way up the tiers of the art world’s ziggurat. She gently berates him for his timidity: “This is how artists have power. We sell work. You’re implying there’s nobility in powerlessness. That’s been an idiotic trope for too long — that participating in the business side of it taints you. Do you know how dumb that is? That artists have to be these fragile little wood nymphs that are too precious to touch the money?”

As “Contrapposto” arrives at its beautiful, life-affirming conclusion, we are left pondering the significance of artistic endeavor in a world that commodifies everything, including our bodies and brains. At a time when even the greatest achievements are debased in a culture that gives equal weight to meretricious novelty, is it even worth the trouble? Eggers’ brilliant novel has the answer: Follow your bliss. In the final analysis, it is all that matters.

Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”

In recent months, the iconic ticking stopwatch of the CBS News magazine “60 Minutes” began to sound like a time bomb.

The explosive detonated Tuesday as the prestigious program’s most high-profile correspondent, Scott Pelley, was fired after openly challenging the moves and motives of the news division’s leadership and questioning the credentials of new “60 Minutes” executive producer Nick Bilton.

Pelley accused CBS News Editor in Chief Bari Weiss of “murdering” the program and berated Bilton, a former New York Times journalist, for lacking TV news experience. His forced exit along with the departure of several other veterans is raising fears about the future of the most-watched TV news program that has managed to retain its vitality and importance in the face of major changes across the media landscape.

Weiss praised Pelley’s contribution to the network when she discussed his termination at the network’s morning editorial meeting Wednesday, but cited a loss of “trust and mutual respect” as the reason for moving on.

“We cannot do our work without it,” Weiss said. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”

But industry veterans familiar with “60 Minutes” said the firings represented a notable shift in how the venerable program has been run by its predecessors.

Rome Hartman, a former longtime “60 Minutes” producer, said Wednesday in an interview that the termination of Pelley for forcefully expressing his views at a staff meeting is a fundamental misunderstanding of how the program has operated and thrived over 58 years. Spirited, and occasionally acrimonious, internal debate has always been a part of working at “60 Minutes.”

“Sharp words in defense of important ideas, whether they be in stories, or whether they be about the future of the broadcast, shouldn’t just be tolerated, they should be encouraged and inculcated, and they always have,” Hartman said.

The insularity of the “60 Minutes” operation — which has its own suite of offices across the street from the main headquarters of CBS News — has rankled the network’s executives in the past. But those dynamics were considered part of the price of having the most prestigious news program on television.

“Every single CBS News president in the history of CBS News has resented the independence of ’60 Minutes,’” Hartman said.”But the smart ones have come to understand that that independence is part of the secret sauce. I don’t know Bari Weiss, but she seems incredibly thin-skinned.”

The turmoil inside “60 Minutes” comes at an inopportune time for CBS. Weiss is now under the gun to replenish the program’s staff with three months to go before original episodes return to the prime-time schedule.

Pelley is the fourth correspondent to depart “60 Minutes” since Weiss took over as editor in chief. Last week, Weiss fired correspondents Sharyn Alfonsi — who accused Weiss of playing politics by holding a story on the government’s use of El Salvador prisons for undocumented migrants — and Cecilia Vega, who was also outspoken in her criticism of the changes at “60 Minutes,” saying she faced censorship. Anderson Cooper, the CNN anchor who spent nearly 20 years as a contributor to the program, chose not to sign a new contract.

Weiss also fired executive producer Tanya Simon, who has been with the program for 25 years, and her second in command. (Pelley said he was unable to get answers on the firings during his final meeting Tuesday with Weiss and CBS News President Tom Cibrowski.)

Bari Weiss hosts Senator Ted Cruz on her “Honesty” podcast on January 18, 2025, in Washington, D.C.

(Leigh Vogel / Getty Images for Uber, X and The Free Press)

And there could be more departures on the way, adding to the upheaval. Bill Whitaker, who joined the program in 2014 and was a Pelley ally, is said to be weighing whether to walk away from the two years left on his current contract. The program’s respected veteran , Lesley Stahl, is pondering her future as well amid the massive changes, according to people familiar with her thinking who were not authorized to speak publicly.

The call is out for new talent, according to one agent who said CBS News is talking to “dozens of people” for the openings.

But the company will also look within its ranks. Matt Guttman, hired away from ABC News by Weiss to become senior national correspondent, is one name being mentioned, along with Major Garrett, the network’s chief Washington correspondent. Both have emerged as favorites of Weiss.

Norah O’Donnell, already a contributor to the program, is also likely to have a larger presence.

While the “60 Minutes” patina has been tarnished by the recent events, there is no shortage of journalists who would be willing to step up and join the program. But whoever does sign on will be intensely scrutinized while the Nielsen numbers are closely watched.

Newcomers on the program are rare and would have an easier time gaining audience acceptance if they were joining a stable operation.

Although every long-running TV program can use an occasional refresh, a massive overhaul is destabilizing for “60 Minutes,” one of the last non-sports appointment programs for the traditional television audience that still provides broadcast networks with the bulk of their advertising revenue.

Notably, the program averaged 9.1 million viewers during the 2025-26 TV season according to Nielsen, up 9% over the previous year.

“Viewers liked the ’60 Minutes’ that they had,” said a former CBS News executive who worked on the program who was not authorized to speak publicly. “And if they don’t like it, they have many other places to go.”

One of Weiss’ mantras — echoed by Bilton — has been the need to pull “60 Minutes” into the digital future as traditional TV viewing declines. Insiders say she has yet to make clear how that will be achieved.

Under Weiss’ watch, clips and full segments of the program gained significant traction on platforms such as YouTube. The success on digital is an encouraging sign for the program’s ability to attract younger viewers who don’t watch traditional talent.

But veteran TV executives say that loyal “60 Minutes” viewers still expect to see seasoned correspondents delivering in-depth investigations and analysis. A diversion from that formula poses substantial risks.

“Its audience has certain expectations,” said Jim Murphy, a former executive producer for CNN and CBS News. “These guys built a literally nearly perfect program for the medium and for the audience. You’re not going to make it better just because somebody cooler does a story that’s, like, a little funkier. It just not going to work.”

Steve Capus, a veteran network producer who worked with Pelley at the “CBS Evening News,” said his former colleague was built for the meticulous work that goes into every “60 Minutes” segment.

“It’s hard to do week in and week out,” Capus said. “You have to be first-rate in your storytelling.”

What’s more, Weiss and Bilton will also have to fight the perception that their moves on the program have been guided by the desire of David Ellison, chief executive of CBS News parent Paramount, to please the Trump administration as he seeks regulatory approval of his deal to acquire Warner Bros. Discovery.

Trump sued “60 Minutes” over the editing of an interview with his 2024 presidential opponent, former Vice President Kamala Harris. The suit was settled just ahead of the Federal Communications Commission clearing the way for the takeover of Paramount by David Ellison’s Skydance Media.

Ellison acquired Weiss’ digital startup, the Free Press, which established itself as a voice critical of so-called woke politics.

Pelley said in a statement Tuesday that there has been pressure to shape CBS News coverage to please the Trump White House, a claim that both Vega and Alfonsi have made.

“I’ve been told to include assertions that are unverified,” he said. “To date, in every case, I have ignored these instructions or refuse them.”

In a statement, a representative of “60 Minutes” said that the exchanges with Pelley regarding editorial content were not out of the ordinary.

“There is no political interference at CBS News, not from ownership, not from Bari Weiss,” the representative said. “The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”

The Hawkstone Farmers Choir was crowned the winner of Britain’s Got Talent 2026 after they sang an original song called This Is Home in the final on ITV last night

Amanda Holden has expressed her delight following the crowning of the 2026 Britain’s Got Talent winners, The Hawkstone Choir.

The 10 acts, which include Golden Buzzer winner and singer Matty Juniosa and PowerPoint comedian Ted Hill, performed again for the judges – Simon Cowell, Amanda Holden, Alesha Dixon and KSI. The winner, Hawkstone Farmers Choir, won £250,000 alongside the Royal Variety spot, and was ultimately decided by a public vote.

For the final, The Hawkstone Farmers Choir sang an original song called This Is Home. The choir sang the emotional song whilst stood in front of a backdrop of the local countryside through the changing seasons. They dedicated the song to anyone who is struggling.

In a video shared to Simon Cowell’s Instagram, Simon and Jeremy Clarkson could be seen celebrating together moments after Hawkstone Farmers Choir’s win.

“Wow, wow, wow,” Simon started before panning the camera so that Jeremy could join in from over his shoulder. That was incredible,” Jeremy said. Simon remarked that he could see how nervous Jeremy got upon seeing the choir perform and whislt waiting to see in they would win. Jeremy continued: “They worked so hard, thank you for having us.”

Simon added: “They did deserve it.” He wrote in the caption: “Wow wow wow. I am genuinely thrilled. A very very very happy choir, and so they should be.”

Amanda Holden also took to social media to express her joy that her golden buzzer act won for a second year running. Captioning the post: “Omfg. I couldn’t be more delighted that the brilliant @thehawkstonefarmerschoir won the whole thing @bgt!! I haven’t stopped crying. They deserve every second of the elation and joy!!! So BLOODY PROUD!!”

One user commented: “Sooo super happy they won! Well done. I couldn’t hold back the tears. So glad they have a voice – what a special final,” another said: “So bloody proud of them all absolutely smashed it, massive congratulations guys such hard working worthy winners chuffed to bits for them.”

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There have been 18 winners of BGT so far – seven music acts, two dog acts, two magicians, three comedians and four dancers/dance groups.

The first winner was crowned in 2007, when opera singer Paul Potts impressed with his rendition of Nessun Dorma. The following year, 14 year-old George Sampson won after showing off his break dancing skills.

The third winner was Diversity, who are perhaps one the best known BGT acts. Their leader, Ashley Banjo, has gone on to become a TV presenter. Dancing seemed to be a big hitter with audiences, as dance group Spellbound won the following year.

In 2011, singer Jai McDowall broke the dancers’ winning streak, and the next year, the crown went to Ashleigh Baker and her dog Pudsey. But, in 2013, the winners were once again dancers, as Attraction, a dance troupe that used movement to create images and tell a story came first.

2014 saw singing group Collabro win with their musical theatre performances. Jules and Matisse, another dog act, won the next year’s series. The first magician to win was Richard Jones, who won in 2016, while in 2017, pianist Tokio Myers won next.

Comedian Lee Ridley, who went by Lost Voice Guy, won in 2018. Singer Colin Thackery won in 2019. Comedy singer Jon Courtenay won in 2020 and comedy continued to be winner in 2022 and 2023, when Axel Blake and Viggo Venn were announced as the winner.

2024’swinner was musical theatre singer Sydnie Christmas and the most recent winner was musician Harry Moulding.

May 29 (Asia Today) — SK Group Chairman Chey Tae-won said generalist talent will become more important in the artificial intelligence era as workers need to develop abilities that remain uniquely human.

Chey, who also serves as chairman of the Korea Chamber of Commerce and Industry, said South Korea should accelerate the expansion of AI infrastructure based on speed, scale and safety.

SK Group said Friday that Chey appeared Thursday on KBS1’s “Documentary Insight – Talent War 2: Chey Tae-won’s Answer,” where he discussed what people should learn and what abilities they should develop as AI advances faster than humans.

“I wanted to share the perspective I have gained by speaking directly with many people in the AI industry and working with them in business,” Chey said.

Chey said the world is now moving through the era of “reasoning AI,” in which AI responds to human questions, and will enter the era of “agentic AI,” in which AI can make decisions and act on its own.

“In this period, the gap in ability between people who actively use AI and those who do not could become much wider than it is now,” Chey said. “The same polarization could deepen among individuals, companies and countries depending on how quickly and effectively they use AI.”

Over the longer term, however, Chey said the rise of artificial general intelligence could narrow gaps in knowledge and productivity among people.

He said that if two people now have ability levels of 10 and 100, their gap is 10 times. But in an AGI era, if everyone receives a baseline AI-powered ability of 1,000, those levels could become 1,010 and 1,100, sharply reducing the relative gap.

“In the future, what matters more than what job a person has will be how that person can use and connect humans and AI together,” Chey said.

He said generalists who can move across different fields and design new systems and societies where humans and AI coexist will become more important than specialists who deeply understand only one field.

Chey also said AI could perform a large share of work tasks, making it possible for people to take on multiple roles and jobs at the same time. He said the conventional “9 to 6” work structure and fixed ideas about occupations could gradually change.

Chey presented four core “muscles” that individuals should build in the AI era: a thinking muscle to ask fundamental questions, an adaptation muscle to respond to rapid change, an empathy muscle that reflects uniquely human compassion and “body skills” that create value through physical activity such as music, art and sports.

“The ability to quickly acquire knowledge and do well on tests will be replaced in large part by AI,” Chey said. “It is important to build the areas that only humans can do.”

Chey also presented a national strategy, saying South Korea needs “3S” — speed, scale and safety — to become a competitive “AI nation.”

He said South Korea should speed up technological development, expand large-scale AI infrastructure and investment and build an institutional foundation that allows citizens to use AI safely.

“AI talent does not simply mean engineering talent,” Chey said. “Education and social systems must also change quickly so future generations can naturally use AI and coexist with it.”

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260529010008715

Belgian defender Thomas Meunier caused debate recently after saying that France has the footballing talent to put out three teams capable of winning the World Cup.

Could Les Bleus, who are co-favourites with Spain in this summer’s World Cup, really lift the title with their second- or third-string team? Maybe not, but their talent is certainly Mariana Trench-deep.

Consider this: According to transfermarkt.com, a lineup of French players that didn’t make the 26-man cut would rank in value among the top five teams – ahead of Portugal, Brazil, the Netherlands and reigning champions Argentina.

Lucas Chevalier 30 million euros ($35m); Pierre Kalulu 32 million, Jeremy Jacquet 55 million, Leny Yoro 50 million, Adrien Truffert 25 million; Boubacar Kamara 40 million, Eduardo Camavinga 50 million; Dilani Bakwa 28 million, Senny Mayulu 40 million or Khephren Thuram 40 million, Mousa Diaby 28 million; Junior Kroupi 40 million. = 418 million [38 million average]

So, how did Les Bleus get to this point?

It started with frustration after French teams consistently fell short on the biggest stage from the 1930s to the 1970s. The solution, national team manager Georges Boulogne said in the early 1970s, would be for the French Football Federation to create training academies known as Centres de Formation.

“France had not won any trophies, and it was decided they needed to create a new structure,” INF (Institut National du Football) Clairefontaine administrator Franck Bentolila told Al Jazeera.

The government backed the programme, viewing it as promoting French ideals through sports, as well as a recipe for winning trophies.

A total of 16 centres were set up, the first opening in 1974 with the main site in Vichy. It recruited widely, drawing young players from the entire country, plus overseas departments. The centres laid a foundation, preparing players for professional careers and the national team.

The record was initially mixed. In the 1980s, France won the European Championship and Olympic Games titles (both in 1984) and reached two World Cup semifinals, but then failed to qualify for the 1990 and 1994 World Cups.

But by 1998, everything fell into place, with the so-called “Black-Blanc-Beur” squad winning the World Cup at home. The multiethnic group represented the changing nature of French society, as well as validating the federation’s development programme. Bentolila said coach Aime Jacquet dedicated the victory to “all the amateur clubs and academies – it’s also your trophy”.

“The [1980s] period with [Michel] Platini, [Alain] Giresse, [Jean] Tigana, had a lot of talent, but we don’t win a World Cup,” Bernard Lama, a goalkeeper who captained the national team in the 1990s, told Al Jazeera.

“The difference with our generation, all the guys were from academies. And we were hungry to win a title. And, also, we had one exceptional talent with Zinedine Zidane.”

France went on to lift the 2018 World Cup and were runners-up in 2006 and 2022.

‘We have players who can make a difference’

Lama traces France’s success to the combination of the centres, with the contribution of immigration.

“You have people coming from overseas – Africa, French Guyana, Martinique – they give us two things, music and sports,” Lama said.

“And, now, there is a sub-generation coming from overseas, and they are French. [Ousmane] Dembele, [Desire] Doue, they are French, they are not naturalised, they grew up in France, the majority around Paris.

“And they are hungry, you understand, for a lot of reasons. But, also, it’s not only a question of work; the first thing is they have talent.”

Lama sees a danger in football, more broadly, of players becoming overly drilled and “robotic”, but France has many exceptions who can give them an edge.

“We are lucky to still have these players who are capable of making the difference,” Lama said. “Maybe that is why we are so good, we have players like [Kylian] Mbappe, Dembele, Doue. They hate to lose and, physically and technically, they can make the difference, individually.

“And that is the force of the national team, and also PSG, our capacity to score. Today, we have maybe four or five guys – [Maghnes] Akliouche, [Rayan] Cherki, a different kind of talent. When you have that explosion of talent, it gives the coach more solutions, offensive solutions.”

Most national team members, no matter their background, have gone through the academies, but their development starts long before that.

“It’s cultural,” Bentolila said. “In America, when you are young, you have a basketball in your hands, or a football in your hands. In France, you have a football at your feet when you are a baby – and free access to facilities.”

That part of the formula sounds similar to many countries. Is there a secret to French development, or are they just doing it better than most?

“The secrets,” said longtime coach and scout Stephane Nado, “are a combination of hard work, structure and organisation.”

Nado said: “The player is the centre, the heart, of the project. The player will receive education. And we will not take them away from their family. It is important for them to keep their roots, important psychologically. This is why France is one of the best in the world at developing players for export.”

Training at Clairefontaine blends street game skills with organisation, including “lots of 1 vs 1, 2 vs 2”, Bentolila said. “You have to fight. You’re good at dribbling and first touch, now you organise possession, 5 vs 2. As soon as you get the ball, you have to have good control. We do that a lot.”

Clairefontaine is now focusing on younger age groups, ceding responsibility for older players to clubs. And development is expanding beyond the centres and established club academies, Bentolila said.

“Paris and Sao Paulo are the best areas in the world for talent,” Bentolila said. “Why? Private academies. It is an amazing situation. Kids, eight- and nine-year-olds, playing every day. Amateur coaches offer not a meal, but a snack at 4 o’clock. Then, they do homework and training sessions. When they are 12 years old, they play like Mbappe.

“In Paris, you have amateur clubs nobody knows, and they can beat [the youth teams of] Barcelona and professional clubs. They are better than PSG, Paris FC. So many players – they play anywhere, any time, eight years old against 10 years old. They are like soldiers, they fight every day, and they are good because they play under pressure.”

In the 1980s, Les Bleus were dubbed “The Brazilians of Europe”. It’s taken a while, but France appears to have lived up to the moniker. And they’ve gone about it their own way.

“Brazilian coaches [used to] tell me, ‘In our country, we are poor, but we can succeed in football or music. So, we start the day with football,’” Bentolila said.

“In France, we go to school, first, and, after, practise football. We do it every day and, like Brazil, we play a lot, and play well.”

Cricket greats, writers and broadcasters hail 15-year-old Rajasthan Royal opener after his 29-ball 97 in IPL playoffs.

Vaibhav Sooryavanshi has been termed a ⁠⁠generational talent after the Rajasthan Royals teenager smashed 97 off 29 balls to power his side to victory in their Indian ⁠⁠Premier League eliminator against Sunrisers Hyderabad.

The 15-year-old also broke Chris Gayle’s record for most sixes in an IPL season on Wednesday, taking his tally to 65 in the ⁠⁠match and surpassing the former West Indies captain’s 59 set in 2012.

Sooryavanshi’s performance helped Rajasthan secure a 47-run win that kept their hopes of reaching the final alive.

Rajasthan will play Gujarat Titans ‌‌in ‌‌the second qualifier on Friday, with the winner advancing to Sunday’s final against defending champions Royal Challengers Bengaluru.

Hyderabad assistant coach James Franklin said the teen batter’s potential was frightening.

“I don’t think anyone’s ‌‌ever seen a talent like this. It’s freakish what he’s doing at the moment,” he told reporters. “To think that he’s potentially got 25 years left in his career, it’s quite scary.

“He’s only going to get better, stronger and more mature with how he bats. So, it’s just devastating at the moment.”

“There’s a very small margin where you could bowl to him,” Franklin said. “He’s an amazing talent that he can start playing around with it [bowling variations] and then start ‌‌to cause the bowlers to have to go to other places, which tend to then go back into his strength.”

The season’s leading run-scorer struck 12 sixes ⁠⁠in his innings, including three in a row ⁠⁠off Hyderabad captain Pat Cummins, but fell short of Gayle’s mark for the fastest IPL century off 30 balls.

Sooryavanshi miscued an upper cut to deep third, leaving him visibly dejected after the dismissal as Smaran Ravichandran completed the catch.

“I thought about it [the hundred] after ⁠⁠I got out. At that time I was just focusing ⁠⁠on contributing as much as I can,” Sooryavanshi said after being named player of the match.

“Hundreds will come, but the goal is to ensure how we win trophies.”

Sooryavanshi, who last year hit the first ball he faced in his IPL career for a six at age 14 and later became the youngest player to score a T20 hundred, has amassed 680 runs this season at a strike rate of 242.85.

Indian cricket great Sachin Tendulkar analysed Sooryavanshi’s batting on social media, saying the baby-faced attacking batter’s technique allows him to play with freedom.

“That innings was nothing short of spectacular!” Tendulkar wrote.

The young player was hailed as the best T20 opener by former England captain Michael Vaughan, who urged India to select him in the national side.

“He is the best T20 opener in the world. India have to pick him,” Vaughan wrote on X.

Cricket author and broadcaster Bharat Sundaresan said that despite the change in bat sizes and record-breaking T20 scores, Sooryavanshi’s achievement was “era-defining”.

“Eight sixes in the first four overs of an innings? What are we watching? This is beyond incredible,” he wrote.

West Indies bowling great Ian Bishop, who is now a cricket commentator, said the quality of Sooryavanshi’s strokes was “rare”.

Former India batter Mohammed Kaif joined in heaping praise on Sooryavanshi, calling him a “wonder boy” in a tweet.

During the last semi-final, The Hawkstone Farmers Choir performed Bastille’s Pompeii and managed to bag their place in the final next week but Simon Cowell had a cheeky dig at their founder Jeremy Clarkson

Britain’s Got Talent judge Simon Cowell made a cheeky dig at Jeremy Clarkson on last night’s show.

The former Top Gear host founded The Hawkstone Farmers Choir after scouring the country for 34 British farmers who wanted to work together and create ads to save pubs and farms.

Earlier this year Hawkstone Farmers’ Choir auditioned for the ITV reality competition and managed to win Amanda Holden’s Golden Buzzer, sending them straight through to the semi-finals after wowing with a rendition of Elbow classic One Day Like This. Just prior to belting out the famous track, member Katrina explained to the judges that Jeremy himself had set the choir up, having been sponsored by the Hawkstone Brewery that the TV star co-owns in the Cotswolds.

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At the time in response to the golden buzzer audition While visibly holding back tears Jeremy thanked Amanda Holden for pressing the Golden Buzzer. He said: “It shows that people quite like farmers. They were very very good, well done all of you. I’m a very happy man tonight.”

During the last semi-final, the 32-strong chior performed Bastille’s Pompeii and managed to bag their place in the final next week.

Simon said to the choir: “You’re not a professional choir, however I love what you stand for. It might be quite annoying to see Jeremy Clarkson‘s smug face, that’s the only downside. He’s a friend of mine. However more importantly this is about you and you did brilliantly well congratulations.”

While Simon’s comments were not all positive, it was clearly only banter between two friends.

Jeremy was over the moon at the chior’s win and in celebration filmed a short video at farm-fest with partner Kaleb Cooper. The duo filmed themselves congratulating the singers in front of a cheering crowd at Farm Fest.

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Britain’s Got Talent fans have been left baffled after grandad Frankie and grandson Lucciano were missing from the semi-final line-up and the duo have now addressed their absence

Fans of Britain’s Got Talent have been left scratching their heads after a popular grandfather and grandson act failed to appear in the line-up for tonight’s semi-final.

ITV has announced that The Hawkstone Farmers Choir will face off against leading drone art specialists Celestial, sideshow and suspension pair Baron and Vesper, magician Jake Banfield, vocalist James Miller, schoolboy dancer Juan Carlos, Japanese comic Mr Cherry and rock boyband SOS in tonight’s (Saturday, May 23). last live semi-final of the series.

Yet fans were swift to spot that Lucciano and Frankie were absent from the roster, despite receiving four enthusiastic yeses from the judging panel of Simon Cowell, Amanda Holden, Alesha Dixon and KSI during their audition.

During their initial appearance, Lucciano revealed to the star-studded panel that his passion for singing stemmed from performances at care homes alongside his grandfather during the school breaks. The youngster then delighted both the crowd and his grandfather by inviting him to share the stage.

The duo delivered a rendition of One Direction’s History, earning a standing ovation, and supporters are now questioning their absence from the semi-final line-up, reports Bristol Live.

Flooding social media, one puzzled viewer wrote: “I’m surprised the little boy and his grandad haven’t been chosen for the semis.” Another questioned: “What happened to the boy and his grandad!? Whatttt.”

A third enquired: “Where is the boy and his grandad?” while a fourth asked: “Is this the last semi final? Where is that sweet boy and his grandad?”

Following their disappointment at not securing a place in the BGT semi-finals, Frankie and Lucciano have reached out to their supporters with a heartfelt message, posted on both their Instagram accounts alongside a touching photograph from their audition performance.

The extensive post stated: “ANNOUNCEMENT. NO SEMI FINAL FOR LUCCIANO and GRANDAD. 4 yeses from the judges, a viral social media explosion, the whole nation routing for us and over 50 MILLION views across all social platforms.

“Unfortunately, we haven’t made it through to the semi-finals amongst such an incredible and talented group of acts on Series 19. What an AMAZING opportunity and experience to take away with me forever. Surprising my Grandad was truly magical and performing in front of Simon Cowell was a dream come true @simoncowell.

“Thank you all so much for the support – the likes, the love, the shares, the follows and all the positive comments. Me and my Grandad want to thank each and every one of you for all the love and support you’ve shown us.

“A huge thank you to @bgt for the opportunity and for believing in me, thank you to the team behind the show, all of the show producers, researchers, camera crew and the one and only @antanddec for making it such a fantastic journey for me. So… what’s next for Lucciano and Frankie?. STAY TUNED. #sharethelove #dream#happyplace #singing #surprise.””

The Britain’s Got Talent grand finale takes place next Saturday, May 30 at 7pm, when the 2026 champion will be crowned. Last year, magician Harry Moulding secured the title and walked away with a life-changing £250,000 prize and a coveted slot at the Royal Variety Performance.

Britain’s Got Talent continues tonight on ITV1 and ITVX at 7pm

Westlife have paid tribute to Simon Cowell during an appearance on Britain’s Got Talent, with Shane Filan, Nicky Bryne and Kian Egan all taking to the stage without bandmate Mark Feehily

Westlife have paid tribute to Simon Cowell during an appearance on Britain’s Got Talent.

The band – which features Shane Filan, Nicky Bryne and Kian Egan – performed their biggest hits ahead of their 25th anniversary tour. However, they were without bandmate Mark Feehily, who will also not appear on the tour.

There was no specific mention of Mark, but the trio paid a heartfelt tribute to judge Simon, who was instrumental in their success.

“It’s been a long time since Simon Cowell suggested standing up from our stools on a key change,” Nicky said. Kian went on to pay tribute to Simon and said they wouldn’t have been there without him.

In June, it was confirmed Mark would be absent from the tour. The band said in a statement: “Sadly, Mark will be unable to join the celebrations. We hope he can join us back on stage when he is ready and able. He sends his love and positivity to you all as always.”

Mark announced he would be taking a break from Westlife just days before first ever tour of America in 2024. At the time, he shared: “Hello and much love to you all! It’s Mark here.. Most of you are aware that I have had some health challenges over the past while.

“It actually all started 3.5 years ago in August 2020 when I had surgery. Within a few days of this surgery I was in severe pain and was rushed into A&E. I eventually ended that awful day in ICU (Intensive Care Unit) where I was informed that due to a complication with the surgery, I had developed severe ‘Sepsis‘, a life-threatening infection that would require immediate emergency surgery to rectify the problem and basically save my life.”

He explained that he was in hospital for months during lockdown, and was later told he needed more surgery.

“It was physically and mentally a very difficult time, not to mention traumatic having to spend so long in ICU. In late 2021, I became very ill in Newcastle before a concert and ended up back in A&E, this time being told I had pneumonia. I was told I had to go straight home to recover and regrettably miss the rest of the concerts that December,” he said.

Speaking about Mark missing their big anniversary tour, Kian told us: “We’re devastated he won’t be joining us on this tour. We’ll be missing him every night just as much as the fans will. But he’s given us his full support. This is the 25th anniversary, it’s something that we all felt needed to be celebrated. We hope as soon as he’s ready he’ll be back with us and we look forward to that moment.”

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