thrilling

After a break of 83 from Higgins in the ninth frame, O’Sullivan won two in a row, thanks to runs of 116 and 80, to hold a dominant five-frame advantage at 8-3.

Higgins won the 12th, but O’Sullivan’s break of 91 left the Englishman 9-4 in front.

But the final three frames were very dramatic. Higgins looked in control of the 14th, with O’Sullivan needing a snooker to have any chance, which he then got, although he could not capitalise.

Higgins took the 15th on a black-ball finish, with O’Sullivan then punching the table in frustration after missing a red early on in the last frame of the night.

His mood was not improved when he potted a long red but then saw the cue ball follow it into the same pocket, with that foul proving crucial as Higgins took the frame to give himself some hope.

O’Sullivan is fighting to make the Crucible quarter-finals for a 24th time and looking for an eighth world title, which would be a record in the modern era.

He was watched by former Manchester United footballer Paul Scholes during his 10-2 win over Chinese debutant He Guoqiang and, this time, UFC fighter Paddy Pimblett and Liverpool defender Milos Kerkez were in attendance.

They, along with the rest of the crowd at the Crucible, would have left thoroughly entertained.

A woman who moved from the Cotswolds to London over two decades ago has said that despite her vibrant life that there has been one massive downside of being based in the UK’s capital

There has been a noticeable ebb and flow in UK living patterns in recent years, as thousands of Britons weigh up whether they prefer city or countryside life.

During the Covid-19 pandemic, many left urban centres in favour of the wide open spaces and cleaner air of the countryside, though some later returned when restrictions were lifted and they missed the convenience and amenities of city living.

As the cost of living crisis has continued, the debate over whether to stay in cities or relocate to the countryside has remained ongoing. One woman, who moved from the Cotswolds to London to run a pub in the East End, has explained why she has no intention of returning.

Artist and mother-of-five Pauline Forster, 76, runs The George Tavern on Commercial Road in Tower Hamlets, having bought the building for £500,000 in 2003 when she was 53.

More than 20 years and a major renovation later, the Grade II listed building — which had once been earmarked for demolition — is still standing and thriving. She has said that despite the high cost of living in London, she values the space her property provides for those who need it.

She told The Times: “There’s room here for whoever needs it, including my five sons. I like the scale and space of it — why would you buy a terraced house when you can get all this?

“I’ll admit that the bills, wages and utility bills are horrendous, and have rocketed in the time I have been here. I do have a mortgage but if I live to 80, I’ll have paid it off. I don’t really care because I’ll never stop working and the George will continue well after I’ve gone.”

Pauline added firmly that “nothing” would tempt her back to countryside living, saying the stimulating environment of London is both what she wants and what she needs.

However, while Pauline has chosen to remain in the capital, others have taken a different approach, opting to live outside the city while still commuting in for work.

Olivia Newton, 37, works in London but lives in South Hams in Devon with her husband Will.

Despite a four-hour commute and £150 off-peak train fare, she says she has no plans to move back to the city, largely because of the benefits the journey brings to her mental health and productivity.

She told The Times: “I once dreaded ‘the commute’ and that was from Shepherds Bush to my office in Shoreditch, but it’s become an integral and valuable part of my life in its own right.

“I get time to have a good think and finish off the deck I’ve been putting off, attempt to get to the end of my book club book and occasionally just zone out and watch the waves splash at the tracks as we pass through Dawlish.”

Deontay Wilder beats Derek Chisora with a split decision win after a dramatic heavyweight contest in what is expected to be Chisora’s final professional bout.

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Paul McCartney sauntered onto the stage of the Fonda Theatre, took in the 1,200 faces before him — “I can see the whites of your eyes,” he said — then offered up a brief history lesson about where we’d gathered Friday night.

The Fonda, he told us, opened 100 years ago; back then, he added, it was called the Music Box.

“Cool little place, innit?”

At 83, McCartney is well into his cool-little-place era.

Last year the rock legend played a string of concerts at New York’s tiny Bowery Ballroom while in town for “Saturday Night Live’s” 50th anniversary; a few months after that, he hit the Santa Barbara Bowl as a kind of warm-up for the latest leg of his Got Back world tour.

Paul McCartney and his band during sound check for Friday’s show.

(MJ Kim)

Friday’s underplay — the first of two instant sell-outs at the Fonda — came as McCartney is drumming up interest in a new studio album he’ll release in May. Outside the venue, a double-decker bus was parked with signage advertising the LP, which is called “The Boys of Dungeon Lane” after a road in his Liverpool hometown.

But that hardly seemed like the purpose of the show itself, which lasted about an hour and 40 minutes and didn’t even include a performance of the album’s lead single. The truth is that Sir Paul genuinely appears to get a kick out of these intimate gigs — out of standing right in front of a crowd and doing the magic trick that is a song like “Get Back” or “Jet” or “Got to Get You Into My Life.”

And why wouldn’t he?

If a Paul McCartney concert in an arena or a stadium is a finely honed spectacle of boomer nostalgia and industrial-strength charm, one of his shows in a club or a theater is a chance to play music, which after six and a half decades still clearly turns his wheels.

You wouldn’t say the shows remind McCartney that he’s a regular guy. (Those six and a half decades have made him anything but.) What they might do, though, is remind him why he became so widely adored — valuable self-knowledge for an artist whose great subject has always been the transformative power of love.

Here, as in Santa Barbara, he and his seven-piece band (which featured three horn players) did a pared-down version of the most recent Got Back set, opening with a killer one-two punch — “Help!” into “Coming Up” — that alone said plenty about McCartney’s range and endurance.

“Let Me Roll It” had a funky swagger, while “Getting Better” chugged with cheerful insistence; “I’ve Just Seen a Face” showed off the group’s crisp harmonies and “Lady Madonna” its tight rhythmic interplay. After “Let ’Em In,” McCartney asked his band member Brian Ray to show off the song’s all-important bass line: a single note plucked over and over and over again.

Friday’s show was the first of two at the Fonda.

(MJ Kim)

He did a few other comic bits, including a memory of Tony Bennett singing without a microphone as a way to demonstrate the excellent acoustics of a concert hall — the punch line was that he later saw Bennett do the same thing at the Beverly Hilton — and some gentle ribbing of the folks sitting up in the “posh seats” of the Fonda’s balcony. Among them, McCartney pointed out, was Morgan Neville, director of the recent “Man on the Run” documentary about McCartney’s life in the aftermath of the Beatles’ breakup.

He also noted that his wife, Nancy Shevell, was in the house and dedicated “My Valentine” to her; truth be told, that one was a bit dreary, as was “Now and Then,” the so-called last Beatles song released in 2023 using machine learning to complete a scratchy demo left behind by John Lennon.

“Thank you, John, for writing that lovely song,” McCartney said afterward, which made it a little harder not to like.

In any event, there were more classics to come, not least a buoyant “Ob-La-Di, Ob-La-Da” and a “Let It Be”/“Hey Jude” twofer that inspired such a lusty singalong that McCartney probably could’ve gotten away with lip-syncing if he’d wanted to.

But of course he didn’t want to — that was kind of the whole point.

With hit medical drama The Pitt finally available to watch in the UK on HBO Max, leading man Noah Wyle has shared some tantalising insight into its future beyond season two

The Pitt’s Noah Wyle has delivered an exciting update on the third season of HBO’s smash-hit medical drama.

He also teased his hopes for the future of the drama, hinting it could run “forever” if audiences are still tuning in.

Wyle portrays Dr Michael ‘Robby’ Robinavitch, a senior attending physician working in a crowded and underfunded emergency room in Pittsburgh.

Throughout each season, Dr Robby, along with a team of doctors, nurses, and medical students, experience a single 15-hour shift, with the second instalment taking place during a busy 4th of July.

The former ER star was in London this week for the UK launch of the series where he spilled two important rules that every episode of the hit series must follow.

Speaking to HBO Max Chairman Casey Bloys, Wyle was asked how soon the cast and crew will be ready to start up production on season three.

“Very soon, boss, very soon,” Wyle joked. “We are in the process of writing character arcs for season three for everybody.”

He went on to explain how the series’ unique storytelling format presents a compelling challenge for the writers, which includes himself and creator R. Scott Gemmill.

“It’s a very interesting show to break because, unlike a lot of shows that are 22 episodes that may play over a calendar year, this is 15 hours of one day,” he continued. “So you’re painting with a much finer brush.

“The character’s arc is not really enough to go through the courtship of a romance, but it’s enough to get your head turned.

“It’s maybe enough to lose faith, maybe enough to find faith, but these are really small arcs that happen over the course of the day but can be really satisfying if you’re engaged with that character.”

Thankfully, The Pitt quickly found a devoted audience in the States, with the second season premiere amassing an impressive 7.2 million US viewers within its first week of release.

“We have these characters who seem to be resonating on a one-to-one with audiences,” Wyle added.

“Everyone’s feeling, ‘I’m a little Javadi (played by Shabana Azeez), I’m a little Samira (Supriya Ganesh), and I have a little Langdon (Patrick Ball) in me, or I know a Whitaker (Gerran Howell)’, and that makes it really exciting to see where they’re going to go next, and to write for where they’re going to go next.”

Hinting at the third season’s narrative, Bloys and Wyle revealed that the upcoming instalment is also building to an explosive and potentially life-changing event in much the same way as the first two seasons.

“We’ve built a pressure cooker where every hour we turn up the temperature, we add more ingredients, then just when it’s about to explode we drop a piano on it,” Wyle revealed.

“You’ve done that successfully for season two and now you’re thinking about it for season three?” Bloys clarified, and Wyle confirmed “Yes”.

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“One of the gratifying things about season two is that we realised we don’t need a big ‘deus ex machina’ plot device to keep this engaging,” he said. “There’s something really satisfying about watching everyday people trying to get through the course of the day, beset by all the trials and tribulations that come over the course of that day.

“If that is satisfying television then this show could run forever, because we don’t need a helicopter to come down in the ambulance bay, we don’t need to jump the shark.”

The Pitt is available to stream on HBO Max with new episodes on Thursdays.