talent

Kieffer Moore has led the line in Wrexham‘s two Championship fixtures with Sam Smith coming off the bench.

Williamson confirmed that they are working to give Parkinson more firepower.

He said: “There are probably 72 other clubs looking for the same shiny new striker, right?

“That’s the challenging one to find – the striker who is great with his feet, great with his head, great at hold-up play, great at finishing, is 6ft5ins and wants to move to Wrexham.

“That’s your £40m striker right there, but we have two great strikers on the pitch right now.

“We are comfortable with those two guys up top and what we need to just add is quality with a couple of different pieces on the pitch to give them the opportunity to score more goals.”

Wrexham host Birmingham on Friday, 28 August (20:00 BST) and travel to Millwall the day after the transfer window shuts.

Chinese media and intelligence are closely following the exodus of the American Central Intelligence Agency CIA personnel, particularly the months-long wait for new retirees to receive their financial entitlements. The agency is facing what it describes as an unprecedented number of retirements as the Trump administration seeks to reduce its workforce. Chinese media and intelligence perspectives on this unprecedented exodus of CIA officers align with their own. The delayed payments are a key focus, with both China and the US focusing on exploiting these developments to highlight institutional weaknesses within the American administration and the declining effectiveness of espionage against Beijing. Beijing is using the CIA exodus and delayed retirement payments to cast doubt on the efficiency of American institutions, targeting disaffected and dismissed intelligence operatives to gather information. This is achieved by promoting the idea of ​​the US administration’s collapse and attracting these affected security professionals to bolster Chinese counterintelligence capabilities.  Here, Beijing is exploiting the widespread layoffs and dismissals within the CIA and other US federal agencies, turning the affected employees into valuable assets to bolster Chinese counterintelligence capabilities. The Chinese strategy focuses on transforming these dismissed experts from defenders of US national security into offensive tools that expose Washington’s vulnerabilities.

The most prominent trends in official and semi-official Chinese commentary and analysis regarding the dismissal of CIA personnel can be summarized as follows: (Chinese mockery of the China-defeat strategy and the backfiring on the strategist). This is the same point made by Chinese media reports, such as the official Xinhua News Agency, which indicated that the Trump administration had previously announced that its restructuring and hiring freeze aimed to focus on China-defeating and the trade war. However, the actual result was the dismissal of skilled and experienced personnel within the CIA. This exposes the structural failures of the US, and Chinese media highlighted the crisis as evidence of administrative chaos within the United States. The pressure to downsize the federal government has paralyzed the Office of Personnel Management (OPM). This has left Washington unable to even pay the pensions of its retired spies on time.  Here, Chinese intelligence, military, political, strategic, and media circles seized upon this crisis to promote the idea of ​​eroding American national security and the golden opportunity it presented for counterintelligence. Chinese think tanks and intelligence agencies seized upon internal American warnings that leaving thousands of former intelligence officers without income for months made them easy targets for infiltration. Beijing interpreted this as a tacit admission of the fragility of institutional loyalty within the American system in the face of financial pressures. Beijing viewed it as evidence of American administrative disarray and a prime example of the brain drain of accumulated expertise. Chinese analyses, assessments, and evaluations focused on the fact that the deferred resignation and contract buyouts programs have prompted senior analysts and field officers within the CIA (those with extensive networks and deep knowledge of Asian affairs) to abruptly leave the service, creating an intelligence gap that will be difficult to fill in the near future.  From the Chinese perspective, this exposes the American narrative of transparency and efficiency and reinforces the idea of ​​the political manipulation of intelligence. Therefore, China is exploiting this unprecedented crisis within the CIA to bolster its ongoing narrative that US intelligence agencies have become tools in partisan political conflicts within Washington. Beijing views the mass exodus as a reflection of the professional officers’ lack of confidence in the administration’s political direction. Beijing is using this as part of a counter-propaganda strategy, with Chinese media outlets employing these facts to send messages to the international community, developing countries, and the Global South, suggesting that the United States, which seeks to impose its global security hegemony, is suffering from severe internal divisions that prevent it from managing its fundamental sovereign affairs efficiently and professionally.

Regarding the Chinese political and media exploitation of the CIA staff exodus crisis, the Chinese media machine promotes these crises as evidence of the collapse and disarray of the US federal administration model. It exploits the inability of US institutions to meet their financial obligations (to portray Washington as incapable of protecting even its most sensitive agencies). Therefore, Chinese intelligence, analytical, and strategic circles employ propaganda to highlight the fragility of job security and social stability within US decision-making circles. Furthermore, China strategically and intelligence-wise exploits this internal US crisis. Chinese intelligence agencies monitor these vulnerabilities to target former employees or those facing termination. Beijing offers inducements or clandestine channels of communication through consulting and research fronts to ensnare individuals who are psychologically and financially distressed. China also exploits the frustration resulting from delayed pensions or forced layoffs to facilitate infiltration, counter-recruitment, and the acquisition of sensitive secrets.

Chinese intelligence, such as the Ministry of State Security (MSS), operates through specific and deliberate mechanisms. The MSS, which oversees Chinese intelligence operations, exploits vulnerabilities such as fractured loyalty, financial weakness, and psychological and material incentives. Beijing focuses on federal officers and probationary personnel who have been laid off from the CIA and harbor resentment, bitterness, and a desire for revenge against their former superiors. Chinese intelligence, analytical, and strategic circles then work to support these individuals to fill the financial gap. The sudden loss of a job for a security officer with high financial obligations creates fertile ground for recruitment, as China offers substantial and enticing financial incentives to secure their loyalty. Chinese intelligence circles are also actively employing digital recruitment through front companies. These are sham consulting firms. Beijing is establishing networks of consulting companies, think tanks, and fake recruitment agencies that appear Western and 100% legitimate to target talent on LinkedIn. Through these platforms, Chinese intelligence officers target former CIA employees who are seeking employment on well-known job search platforms like LinkedIn. They use disguised accounts, sometimes employing artificial intelligence, to apply for jobs. Then begins the process of gradually extracting information. The relationship starts with requests for ordinary, non-classified (publicly available) research in exchange for lucrative financial rewards to build trust. The employee is then gradually drawn into providing sensitive information and moving to encrypted communication platforms.

Here, Chinese intelligence agencies work to feed their counterintelligence efforts with tactical information. When China succeeds in recruiting a compromised American security operative, it doesn’t just seek international secrets but focuses on acquiring high-quality information that serves its counterintelligence apparatus. The most prominent of these is uncovering the methods of operation of the US Central Intelligence Agency (CIA). Understanding American recruitment mechanisms, how spies are planted, and methods of vetting and infiltration. Identifying profiles and characteristics (profiles) to understand the psychological and behavioral traits the CIA seeks in informants, which helps China detect potential spies within its own territory or within the People’s Liberation Army early on. This also involves uncovering technical and cyber vulnerabilities by identifying the encryption tools and systems used by US agencies, thus giving Chinese counterintelligence the ability to fortify its networks and penetrate counterespionage operations.  Exploiting the absence of exit briefings, Western and American intelligence reports have revealed that some federal employees who were hastily discharged did not undergo standard exit briefings. This procedural gap left employees without direct warnings or clear reporting mechanisms should they be approached by hostile entities. Beijing exploited this as a golden opportunity to operate with minimal oversight. In response to this risk, US security agencies, such as the FBI and the National Counterintelligence and Security Center NCSC), issued heightened security alerts and shut down and blocked dozens of fake websites belonging to Chinese recruitment networks targeting discharged CIA employees.

For every actor, musician, writer and artist who has become a wealthy and enduring celebrity, exponentially more of them have enjoyed a brief, shining moment, never to be heard of again. What separates those who last from those who fade away? Is it luck, talent, drive, destiny? All of the above?

It’s an intriguing question that may have no definitive answer, but one that director Kent Jones (2018’s acclaimed “Diane”) and Oscar-nominated screenwriter Samy Burch (“May December”) lovingly and lyrically consider in the often first-rate “Late Fame.” The film is based on an 1895 novella by Arthur Schnitzler (also author of the book that became “Eyes Wide Shut”), which went unpublished until 2014.

A quietly captivating Willem Dafoe plays Ed Saxberger, a New York post office veteran of 37 years in a seemingly satisfying if decidedly low-key existence. For him, it’s work, then maybe a game of pool with his blue-collar buddies at a local bar (though he’s six years sober) and a solo return to his Greenwich Village walk-up.

That is, until one night, he’s approached outside his apartment building by a somewhat affected but seemingly earnest young man who goes by his last name, Meyers (Edmund Donovan). With his elevated speech, tony air and throwback attire, he’s like someone from another era; you could see him as one of Jay Gatsby’s pals or a bon vivant who drops by on “Downton Abbey.”

Meyers proceeds to tell an astonished Ed that he’s a huge fan of his long-forgotten 1979 poetry collection entitled “Way Past Go,” the postal worker’s fleeting brush with literary success. “They just slap you across the face with their style and with their relevancy,” extols Meyers of the poems. “They’re timeless.”

Really, what writer, no matter how detached from their past, could resist that kind of sweet talk?

A meet-up with Meyers’ “artistic community,” a circle of so-called intellectuals known as the Enthusiasm Society, leads Ed to humbly dip a toe back into his vanished creative side. He’s not unaware that Meyers’ mostly 20-something male friends have — like many — romanticized the gritty abandon of lower Manhattan’s bygone literary scene and perhaps Ed’s tenuous place in it. They might be poseurs tossing around references to Ginsberg and Bukowski, but the welcome mat the group offers Ed is enticing and inspiring.

Still, a visit to Meyers’ sleek apartment, admittedly paid for by his parents, confirms for Ed the kind of youthful privilege at play here, so unlike the scrappier downtown bohemia of his own artistic heyday.

The wild card in the Society is Gloria (Greta Lee, dazzlingly good), an impish sprite who’s hard to pin down. Is she really a working stage actor? Ed gets swept up in her performative antics and elusive, larger-than-life allure. (She’s older than her fellow Society members but decades younger than Ed.) When they develop a teasing flirtation, it’s one of the less credible turns here, given how authentic Ed is — and how dubious she appears (though some truth on that front will later unfold).

This tilt toward Gloria causes the film to lose its way a bit, pulling focus from the more potentially vital mentor-disciple dynamic between Ed and the anxious, navel-gazing Meyers. Plus, Donovan is excellent here, so less of him is, well, less.

That said, there’s a bravura second-act scene that finds Gloria performing an impassioned version of the 1929 Bertolt Brecht and Kurt Weill torch song “Surabaya Johnny” for an appreciative cabaret audience, one that includes a rapt Ed. It verifies Gloria’s singing talent and proves a perfect match for her showy, cagey persona: the love child of Marlene Dietrich and Sally Bowles.

If the story has a through line, it concerns the planning and execution of an evening of live readings from the Society’s works, with a new poem from Ed as its centerpiece. A few of the obstacles layered in — Ed’s struggle to write and some show-night personality conflicts — feel a tad obligatory. But the event itself has its high points, including the piece Ed finally reads.

In addition, an awkward meeting between Ed and a smooth literary agent (Jake Lacy), along with a mini-subplot involving phone calls from Ed’s frustrated sister about their dying brother, come off slightly wedged in. Not much payoff there.

No matter. There’s wisdom and depth to the film’s themes of growing old, dashed dreams and the magic of rediscovery, plus a deliciously ironic final twist. Jones manages his superb cast with aplomb and cinematographer Wyatt Garfield evocatively captures lower Manhattan’s wintry, burnished glow.

PRINCE HARRY has given his royal seal of approval to 2024 Britain’s Got Talent winner Sydnie Christmas.

He told Syd he “felt every word in the back of his throat” after she performed Tomorrow from Annie and Frank Sinatra’s My Way in front of him at David Foster’s charity gala in Canada over the weekend.

Both tracks have poignant lyrics about overcoming difficulties and being beaten down, which is rather apt for Harry, who has endured setback after setback recently.

Speaking from Canada, Syd told me: “When I was on stage, I joked about meeting his dad before adding, ‘Sorry he couldn’t make it. He sent me instead’.

“Oh my god – I say such silly things when I’m nervous, but Harry started laughing.

“When I got down off stage he just came forward and gave me a big cuddle.

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“And he went, ‘Sydnie, I felt every word. I really felt that in the back of my throat’.”

Revealing how the fifth-in-line to the throne ditched royal protocol, Sydnie continued: “He just went in for the hug and I was like, ‘Why not?’.”

Next week, the singer drop her new single Spirit, taken from her second album The Artist, which is due out on October 2.

Teasing the record, Syd said: “This is going to be different from what people know me for.

“I’m just trying to progress and make music that hopefully people like.

“The dream is just to continue touring and making music.

“It’s sounds so simple, but it’s difficult in this day and age.”

Denise has a Tiny secret

DENISE WELCH has revealed that US band Tiny Habits soundtracked Matty Healy and wife Gabbriette Bechtel’s first dance at their wedding last month.

The folk-pop trio were joined by Matty’s mum, Loose Women star Denise, during their show at London’s St Pancras Old Church on Friday when she let slip the news.

Clearly she’s a big fan now too, as she stayed for the gig and posed for a photo with the group afterwards.

The band, made up of Judah Mayowa, Cinya Khan and Maya Rae are good friends with The 1975 frontman Matty, who provided background vocals on their recent single, Anything He Was.

It will feature on their second studio album, Keepers, which is due out on August 28.

Tiny Habits met while at university in Boston and have since gained more celebrity fans in Marcus Mumford, Noah Kahan and Phoebe Bridgers.

They’re clearly doing something right.

Madge and Kylie set for 102nd top ten hit

POP legends Madonna and Kylie Minogue are on course for a big hit with their new single, Love Sensation.

Official Charts has revealed the track is currently at No8 in the midweek update.

If its popularity continues, it will become the 102nd Top Ten that the pop stars have scored between them – Madge’s 65th and Kylie’s 37th.

They debuted the tune, a remix of a song from Madonna’s Confessions II album, at WorldPride in Amsterdam earlier this month, right.

Meanwhile, Sam Fender and Olivia Dean are set to stay at No1 for a 21st week with Rein Me In, with only Shakira’s Dai Dai challenging them for top spot.

Usher: ‘I don’t do doubles’

USHER has been forced to hit back at claims that he had a body double perform on stage for him during his MetLife Stadium show in New York.

The Burn singer’s fans were up in arms after his concert, claiming the man on stage singing was not Usher.

Posts about the claims started to go viral yesterday, with Usher forced to clarify it was him, writing: “How y’all come up with this? AI ain’t that advanced.”

It’s not the first time we’ve seen this recently.

Last month, a Blue fan got in touch to complain they didn’t think Simon Webbe had been performing with the band during a gig in London.

After a quick – and comical – conversation with their manager, we managed to clear up that it was the real Simon on stage.

Specsavers, anyone?

Taika moment to go offline

TAIKA WAITITI’S upcoming sci-fi film, Klara And The Sun, is set in a world with no internet.

But the Hollywood director admits he struggles to limit his time online – despite his best efforts.

Taika, below, told us: “When I’m writing, I tend to hang out too much on it, but you’ve got to really make an effort and go somewhere where there is no wi-fi – or just unplug the router and force it upon yourself.”

He added of the film, based on the best-selling book by Kazuo Ishiguro: “It’s set in the near future where we’ve ended up abusing our power with the internet and technology so much that they actually had to turn it off.

“No internet or AI – all the robots are analogue and not connected to anything at all. Basically, robots that are dumb.”

I’d love some internet breaks at times, but alas showbiz never sleeps.

Fans’ joy at long Weeknd

THE WEEKND has done a U-turn on his announcement early last year that he plans to retire – insisting he will keep performing “for ever.”

The Blinding Lights singer, inset, whose real name is Abel Tesfaye, had said he wanted to put his alter-ego to bed, but in Stockholm on Saturday, he made it clear his current tour has reinvigorated his love for music.

Ad-libbing during one of his tracks, he sang: “I’ll never disappear. I love this too much to ever disappear.

“I tested retirement a little bit, and I don’t like the way it feels. Imma be here for ever with you.”

That will be music to the ears of fans who didn’t manage to get tickets for his five Wembley Stadium shows and two concerts at Dublin’s Croke Park in the next fortnight.

During the 1970s, San Fernando High football coach Bill Marsh created something scarier than Frankenstein: the wishbone offense.

In 1974 and 1975, the Tigers were the most electrifying, explosive and entertaining team in Southern California, winning back-to-back City Section titles behind the trio of fullback Charles White, running back Kevin Williams and quarterback Kenny Moore, all of whom went on to USC.

Another halfback, Ray Williams, also starred and went to Washington State. Kevin Williams won the state 100-yard dash in 1975. Moore was a two-time City player of the year. White would win the state 330-yard hurdles championship and become a Heisman Trophy winner.

Former San Fernando High football coach Bill Marsh.

(San Fernando HS)

“I had sleepless nights worrying about keeping these guys from being envious or jealous of one another,” Marsh said in 1999.

Marsh, who grew up in Pacoima and played at San Fernando before becoming a coach, P.E. teacher and businessman, died on Monday in Porter Ranch, according to current San Fernando football coach Charles Burnley. Marsh was 79.

“He was a great man,” said Al Coney, who played for Marsh in 1976.

Burnley got into trouble while attending another high school when Marsh intervened to get him another chance.

“He saved my life,” Burnley said.

Those championship San Fernando teams kept running off big plays and using their speed while relying on lots of talent from Pacoima. They were the days when kids went to their neighborhood schools, and Marsh took advantage with a run-oriented offense that left defenses unable to stop the Tigers. In one game against Reseda, the Tigers rushed for 529 yards, with Kevin Williams running for 180 yards, White 152, Raymond Williams 110 and Moore 82.

“It was very hard to stop because Kenny Moore ran the offense like a college quarterback. He learned to read the defensive end,” said receiver DeWayne Jett. “We probably had the top talent in the Valley all at once.”

Five of the offensive players made it to the NFL — Jett, White, both Williamses and Moore.

The 1975 team was ranked No. 1 in the nation to start the season. Sportswriters tasked with selecting City player of the year ended up making White, Moore and Kevin Williams tri-players of the year, which certainly made Marsh happy trying to spread the fame.

Jett almost went to Monroe because of the Vikings’ passing attack, but he remembers Marsh confronting him. “I’m hearing you’re going to Monroe. You’re not going. You’re gold and black.”

Marsh retired after the 1979 season.

Funeral arrangements are pending.

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.