After back-to-back appearances at both weekends of Coachella, David Lee Roth popped out Saturday at Stagecoach to sing Van Halen’s “Jump” with Teddy Swims for the third (and final?) time. To discuss what he called his “three-peat,” I caught up later with the 71-year-old singer, who wore a bedazzled jacket and a leather vest.
Have you bought property in Indio? Do you just live here now? No, I’ve bought property in the American musical fabric that extends beyond time frame, that extends beyond shoes and haircuts. It includes cowboy hats and yarmulkes.
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Next weekend this place is gonna be barren. Will you be back to sing “Jump” with nobody? There’ll be plenty of people here for the Diamond Dave Big Rig Trucking School and Day Care Center.
You’re on your own tour right now. How are those shows going? They go exquisitely because if you enjoy what you saw onstage [tonight], it’s that times 22 songs.
Twenty-two songs in the set. Oh yeah. I wrote every word that I sing, I wrote every note that I sing — all the melodies — and I stacked all the harmonies. Ed [Van Halen], of course, contributed all the great guitar parts. And we wrote all of those parts literally sitting in a tiny little alcove room where you put a washer and a dryer. We would sit knee-to-knee the room was so small, and he’d play the electric guitar. His mom wouldn’t let him plug in because it would be too loud, so I had to lean over. Every song that you know of Van Halen, I heard from an unplugged-in electric guitar from four inches away, going, “Too long.”
Tighten it up. Cut it short. All great musicians finish long after the ending.
Last time we talked, you said you were wearing Artemis II. What’s the outfit tonight? This is classic Nudie’s western wear from Lankershim. This is from the ’50s. This has been all over the world. This is made by Nudie’s of Hollywood, who made all of Roy Rogers’ and Jean Autry’s [clothes] and all of “Bonanza,” “Gunsmoke,” “Rawhide’s” wear. Look up Nudie of Hollywood, OK? This baby’s worth more than my shoes, and they’re custom-made. This jacket’s worth more than my teeth — same thing.
“Billy Shoemaker was born 2 pounds 6 ounces and it was the only edge he ever needed in life.”
That remains noteworthy now, because when they run this year’s thoroughbred classic at Churchill Downs on May 2, it will mark 40 years since “Billy The Shoe,” still the third-winningest rider in the sport’s North American history and perhaps its most memorable, won his fourth and last Derby aboard a 17-1 longshot named Ferdinand.
In 1986, Snow Chief was the 3-1 Derby favorite. He was trained by colorful and often grumpy Mel Stute, who was, like Shoemaker, a fixture at Santa Anita. His jockey was a young Alex Solis, who came from Panama, was still struggling with the English language then and had quickly dazzled the Southern California racing world with his talent.
Jockey Bill Shoemaker smiles as he holds a large plaque presented to him at Santa Anita on Jan. 1, 1953, in recognition of winning 484 races. He promptly added to the total by winning the first race of the day.
(David F. Smith / Associated Press)
It was an era in sports somewhat less contentious, more inclined to celebrate its history and its moments and less inclined to look for more. A few weeks earlier, Jack Nicklaus had won the Masters, at age 46. It was a hugely popular outcome, just as Shoemaker’s would be. It was quite the time for legend building, those few months in 1986.
The Derby network telecast brought the comfort of an easy chair. Jim McKay, who had done it for years, took viewers through the likely race scenarios. Al Michaels, whose racing chops were notable well before he asked the world if it believed in miracles and well before the NFL hustled him away to greater fame and fortune, pitched in on the telecast with thoughts on the pageantry and some race angles. A young Michaels, with thick black curly hair and the same distinctive voice, broadcast from the track and touched on the interesting elements of Shoemaker’s presence.
“Ferdinand is at 17-1,” Michaels told the audience. “A few years back, you couldn’t get 17-1 with Shoemaker if he was riding Mr. Ed.”
Shoemaker was already a legend and had already won the Derby three times by then. But any mention of his Derby expertise was, and always would be, sprinkled with a disclaimer about his 1975 ride on Gallant Man, when he misjudged the finish line while leading on the home stretch, pulled up his horse and lost a race he had pretty much won.
In ‘86, that was all soft peddled by the media, which mentioned it more out of duty than reportorial necessity. Ferdinand was, after all, a 17-1 longshot, easier to downplay or ignore. Also, Shoemaker was 54, not exactly an age to be looked upon as a contender. No jockey that age had ever won the Derby — and still hasn’t. There was respect for his seniority, but mostly an assumption that he was the past, not likely the present. He had led North American racing in victories for 29 years, finally totaling 8,833. But much of that happened prior to 1986.
Worst for Shoemaker, he had drawn the No. 1 hole, the starting spot closest to the infield that is usually a death knell for Derby horses. The gate opens and the entire field dashes for the rail, all coming down on top of the 1-hole starter. Shoemaker and Ferdinand held ground for a while, but by the time they got to the back stretch, they were dead last. They were still there as the field got to the top of the home stretch.
Then the cavalry charge to the finish began and Shoemaker went with the crowd, to the outside. At one point in the home stretch run, he was six horses wide.
Then, he made one of those moves that made William Lee Shoemaker “Billy The Shoe.” He saw an opening to his left, squeezed through it and soon had Ferdinand almost to the rail — and in full gallop. Before anybody could analyze what had happened, Ferdinand, carrying a jockey who probably never weighed 100 pounds in his career — thanks to the birth advantage Downey so aptly pointed out years later — was cruising past the leaders and sailing home a winner.
Ferdinand, ridden by Billy Shoemaker, heads down the homestretch to win the Kentucky Derby on May 5, 1986, in Louisville, Ky.
(John Swart / Associated Press)
The victory made legendary trainer Charlie Whittingham a Kentucky Derby winner for the first time. He was 73 and had disliked running young horses in a pressure race such as the Derby. The Triple Crown races are only for three-year-old thoroughbreds. Whittingham won another Derby three years later with Sunday Silence. He trained into his 80s.
Shoemaker’s career rightfully was topped off by that Derby victory, as well as his win in the Breeders’ Cup Classic in 1987.
The aftermath of that 1986 race was less kind, although nobody could take away what Shoemaker had accomplished. The jockey who finished last in the ’86 Derby was Laffit Pincay Jr., who later passed Shoemaker’s North American victory total with 9,530 wins. Pincay’s total was topped by Russell Baze, who took 12,842 wins, but in a riding career that featured wins at lesser tracks against lesser competition. When Baze broke his record, however, Pincay was there to offer his congratulations.
By the time Shoemaker won the 1986 Derby, he had little left to achieve. He not only won 11 Triple Crown races, but he also had won, to mention a few prestigious races, the Hollywood Derby, the Hollywood Gold Cup, the Oak Tree Stakes, the San Luis Obispo and the Santa Anita Derby.
Jockey Billy Shoemaker smiles as he rides Ferdinand, the 1986 Kentucky Derby winner, at Hollywood Park after winning the Breeder’s Cup.
(Bettmann Archive via Getty Images)
Each one eight times.
Shoemaker moved into thoroughbred training after he stopped riding. He was a fixture around Santa Anita, as he had been as a jockey. His success was mixed, certainly less than he had as a jockey.
On April 8, 1991, after a day of golf in the Inland Empire, Shoemaker was headed west on the 210 freeway in San Dimas. The road at that point includes an exit to the right for the 57 freeway south and under the 210. Shoemaker swerved right off the 210 and rolled his Ford Bronco down the embankment, about three stories high, and onto the 57 freeway. Police confirmed he was intoxicated during the crash. Shoemaker suffered a broken neck and spent the rest of his life in a wheelchair, from which he continued as a trainer for several years.
Billly Shoemaker is in the winner’s circle at Santa Anita in March 1976 after winning his 7,000th race.
(Associated Press)
Shoemaker eventually sued the state of California because there was no guard rail at the site, the Ford Motor Co., to whom he alleged that the Bronco was a rollover risk, and Glendora Community Hospital for alleged incorrect treatment when he was bought in. Ford paid him at least $1 million, after agreeing to do so if he received no money from the hospital. There is no record of him getting any money from the state of California.
Shoemaker died in October 2013. He remains third on the North American jockey career win list with his 8,833.
Ferdinand was sent to stud in 1989 and sold to a breeding farm in Japan in 1994. In 2002, reports surfaced that Ferdinand had been sent to a slaughter house in Japan, where he became food for either humans or pets, or both. Racing’s indignation over that, as well as that of anger in the general public, prompted the formation by Congress of a bill that would ban the slaughter of horses in the United States.
Lionsgate’s “Michael” is on track to unseat “Straight Outta Compton” as the king of musical biopics.
Early returns suggest the Antoine Fuqua-directed film will surpass the $60-million opening weekend box office record set by the N.W.A biopic in 2015, with the studio expecting an opening that could reach $70 million.
“Michael Jackson is one of the most influential artists in human history. His impact on music, fashion, dance, film and business has withstood the test of time,” said Adam Fogelson, the chair of the Lionsgate Motion Picture Group.
“All of those things together seem to have created a profound response from audiences of all ages,” he added.
“Michael,” starring the legendary pop star’s nephew Jaafar Jackson, hits 3,900 screens nationwide on Friday.
That film remains the highest-grossing documentary of all time with nearly $270 million in global ticket sales.
The stakes may be higher for “Michael,” not just because of its roughly $200-million cost, but also its circuitous journey to the big screen.
Early development on the motion picture began in 2019, but frequent changes — both in the storyline and production — forced delays. The original idea was to encapsulate Jackson’s life from childhood fame with the Jackson 5 to his solo commercial peak during the ’80s and end with the child sex abuse allegations he faced in 1993.
That version of the film was well underway when the production was forced to go back to the drawing board due to a legal issue. The Jackson estate, which is in support of the project, reportedly discovered the early draft of “Michael” violated a $15-million settlement with the accuser in that case. Part of the agreement stipulated that the alleged victim would never be pictured or mentioned in a dramatization of Jackson’s life.
Production reconvened for 22 additional days and the Jackson estate took on tens of millions of dollars in additional reshoot costs.
The current version of “Michael,” hitting theaters this weekend, is set between the 1960s and 1988. It closely follows the controlling relationship between Jackson and his father, Joe Jackson, played by Colman Domingo, and tracks the king of pop’s peak stardom. Janet Jackson is notably absent from the storyline.
Depending on how the movie performs, there are plans for a potential sequel. The follow-up would tell the second half of Jackson’s career, where much of the scrapped footage could be used. Lionsgate has done advanced work to ensure that a significant amount of the previously captured footage could be included.
So far, the movie is receiving mixed reviews. As of Friday morning, the critic’s consensus on Rotten Tomatoes was less than favorable, with a score of 40%. But Lionsgate remains confident the film will resonate positively with average moviegoers and Jackson fans, both domestically and globally.
“The audiences that are now starting to watch the movie in early previews have been euphoric,” Fogelson said. “Audiences are speaking loudly and clearly about how much they appreciate the final product.”
Even outside of theaters, Jackson’s story continues to find success. “MJ,” the jukebox musical based on his life, is in its fourth year on Broadway and has had both national and international showings. Michael Jackson’s estate has also collaborated with Cirque du Soleil for several acrobatic productions since 2011. The “Michael Jackson ONE” show, which first premiered in 2013, recently extended its run on the Las Vegas Strip until 2030.
Tiffany Naiman, the director of music industry programs at UCLA, said the sustained interest in the pop icon speaks to his loyal fan base and place in American cultural history.
“He represents not only extraordinary artistic achievement, but also the contradictions of fame at its most amplified,” Naiman said in a statement. “That tension — between brilliance and controversy, innovation and scrutiny — is precisely what continues to draw audiences back, and what will likely shape both the film’s reception and its broader cultural impact.”
LONDON — The fabled two-hour barrier for a marathon has been broken, officially, in an once-inconceivable achievement in sports.
Not by one runner, but two.
In a race for the ages, Sabastian Sawe of Kenya won the London Marathon in 1 hour, 59 minutes and 30 seconds on Sunday, shattering the previous men’s world record by an astonishing 65 seconds.
“What comes today is not for me alone,” the 29-year-old Sawe said, “but for all of us today in London.”
Just 11 seconds further back was Ethiopia’s Yomif Kejelcha, who — running in his first-ever marathon — also covered the 26.2-mile (42.2-kilometer) course in under 2 hours.
Completing the podium was Uganda’s Jacob Kiplimo, who broke the previous world-record time — set by Kenya’s Kelvin Kiptum in Chicago in 2023 — by seven seconds, finishing in 2:00:28.
In an exhilarating sight, Sawe ran quicker as the marathon went on, covering the second half of the race in 59 minutes and 1 second. He pulled clear with Kejelcha after 30 kilometers and then made his solo break in the final two kilometers, sprinting along the finish on The Mall to loud cheers.
Sabastian Sawe of Team Kenya runs ahead of Yomif Kejelcha of Team Ethiopia during the London Marathon on Sunday in London.
(Warren Little / Getty Images)
Sawe, who retained his title in London, said it was a “day to remember for me” and thanked the huge crowds who lined the streets of the British capital to witness what might be regarded as a feat marking the peak of human physical achievement.
“I think they help a lot,” he said, “because if it was not for them you don’t feel like you are so loved … with them calling, you feel so happy and strong.”
Under two hours has been done before — unofficially
Breaking two hours in a marathon has been a long time coming — and has been done before.
However, when Eliud Kipchoge — the Kenyan long-distance great — achieved the feat in Vienna in 2019, it was in a specially tailored race called the “1.59 Challenge” that was arranged by British billionaire Jim Ratcliffe in favorable conditions, on a 6-mile (9.6-kilometer) circuit, and using rotating pacemakers.
That meant it wasn’t classed as an official race setting, so Kipchoge’s time of 1:59:40 didn’t go in the record book.
In any case, Sawe surpassed that time by 10 seconds on a mostly flat course across London in dry, sunny conditions.
Sabastian Sawe, of Kenya, smiles and holds up his adidas shoe with his world-record marathon time written on it Sunday in London.
(Alex Davidson / Getty Images)
“The goalposts have literally just moved for marathon running,” Paula Radcliffe, a former winner of the London Marathon, said during commentary of the race for the BBC.
At the turn of the century, the world’s best time for the men’s marathon was 2:05:42, set by Khalid Khannouchi in Chicago in 1999.
Khannouchi broke his own record by four seconds in 2002 — the last time the fastest men’s marathon was run in London — and it has been whittled down gradually over the last 24 years by a succession of Kenyan and Ethiopian runners, including Haile Gebrselassie, Wilson Kipsang, Kipchoge and most recently Kiptum.
Assefa wins fastest-ever women’s-only marathon
A record was also set in the women’s race, with Ethiopia’s Tigst Assefa pulling away with about 500 meters remaining to win in 2:15:41 and defend the title in the fastest-ever time in a women’s-only marathon.
However, it was 16 seconds slower than the course record set by Radcliffe in 2003 when it was a mixed race.
Tigst Assefa celebrates as she crosses the finish line during the London Marathon women’s race in a record time Sunday.
(Ian Walton / Associated Press)
Kenya’s Hellen Obiri was 12 seconds back in second place in a personal-best time on her London debut and compatriot Joyciline Jepkosgei was third, a further two seconds adrift. It was the first time three women have run under 2 hours, 16 minutes in a marathon.
“I screamed when I finished because I knew I was breaking the world record,” Assefa said.
“I felt much healthier today and have worked really hard on my speed and all my training has paid off.”
Swiss double in wheelchair races
In the wheelchair races, there was a Swiss double with Marcel Hug powering to a sixth straight men’s title — and eighth in total — and Catherine Debrunner beating Tatyana McFadden in a close finish to defend the title.
As the 2026 Stagecoach Country Music Festival rides off into the sunset, enjoy the last day of the performances from the comfort of your home. The festival will be livestreaming most of the performances, so you’ll be able to watch Post Malone and Warren Zeiders from the couch. You can also take a trip down memory lane with Hootie & the Blowfish, Brooks & Dunn and Third Eye Blind. Close out the festival by watching Loud Luxury, DJ Pauly D and Ludacris onstage.
The festival will be livestreamed on Amazon Music, Prime Video and Twitch. On Sirius XM’s The Highway (Channel 56), you can listen in to exclusive interviews and live performances. Their station Y’Allternative will also be covering the festival on Sunday.
Here are updated set times for the Stagecoach livestream Sunday performances (times presented in PDT):
The best way to climb a mountain is one step at a time.
Especially when you’re wearing skates.
And the Kings will be wearing skates and staring at a very large mountain when they take the ice Sunday for Game 4 of their best-of-seven Stanley Cup playoff series with the Colorado Avalanche, a loss away from elimination.
“You’ve just got to start with the first one,” defenseman Mikey Anderson said after a fast-paced 45-minute practice Saturday. “You try to win the first one, and then reset and go from there.”
Since the Kings trail 3-0 a win in Sunday’s matinee at Crypto.com Arena will do little more than extend the series one game, sending the teams back to Denver. To advance to the second round, the Kings need to win four in a row against the team that posted the NHL’s best record in the regular season.
How big a mountain is that? Well, the Avalanche haven’t lost four in a row since October and the Kings haven’t won a first-round playoff series since 2014.
One step at a time.
“You just have to win one, that’s first off. And then the hardest one will be the next one,” Kings interim coach D.J. Smith said. “And then, you know, it’s just momentum changes. But you can’t think about that without winning one, and you can’t think about winning one without winning the first period.
“You’re up against it, but I don’t think you can think about winning the series. You just got to think about winning one game.”
The series has been a lot closer than the deficit would indicate. The Kings have won the battle of the special teams, with their penalty kill shutting out the NHL’s highest-scoring team on nine chances. They’ve also scored a power-play goal in each of three games and held Nathan MacKinnon, the league’s top goal-scorer, to one assist in three games.
MacKinnon didn’t even take a shot in Game 3, yet Colorado won 4-2 with two goals bouncing in off the skates of Kings forward Adrian Kempe and goalie Anton Forsberg while another was scored into an empty net.
“You still lose the game,” Anderson said. “This time of year doesn’t really matter. You can say it feels good, you do all these good things. But if you don’t win the game, it’s kind of it’s the only thing that matters right now.”
ings center Scott Laughton (21) checks Avalanche defenseman Sam Malinski (70) into the boards during the second period of Game 2 in Denver.
(Jack Dempsey / Associated Press)
Added forward Scott Laughton, “Sometimes you get the bounce, sometimes you don’t. You have to have a very-narrow minded focus. We’ve got to stick to the process.”
The Kings have only four goals in the series and have scored just once at even strength, so Smith scrambled his bottom two forward lines in practice Saturday in a search for speed in the offensive end. But he said he doesn’t plan any major changes for Game 4, adding the Kings just need to check harder, move the puck better and get to the net more.
“I think that the game plan is correct,” he said.
However the Kings have taken just 76 shots in the three games, making things far too easy for Avalanche goalie Scott Wedgewood, who has been brilliant.
“We’ve got to find ways to put the puck in the net, whether that’s crashing the nets, making the play for an empty netter. It doesn’t matter at this point,” said Kings’ captain Anze Kopitar, whose 20-year NHL career ends when his team’s season does. “We’ve got to find a way.”
Smith, who rallied the Kings into the playoffs after taking over for Jim Hiller with 23 games left in the regular season, is making his Stanley Cup playoff debut as a head coach. But he’s been in this position before. As an assistant with Windsor in the Ontario Hockey League, Smith coached a team that overcame a 3-0 deficit and went on to win the league title.
That was a big mountain. And they climbed it one step at a time.
“We’ve just got to play our best game one time, and then we’ll worry about the next game,” Smith said. “But we have to find a way to score more while playing the exact same defense.
“Is it hard? Yes. Are we going to give it everything we got? Yes. I think you’re going to see our best game in the series.”
Ready to sing along from your couch? The Amazon Music Stagecoach Saturday livestream has you covered. For a heartfelt ballad, you’ll be able to tune in as Teddy Swims and Lainey Wilson take the Stagecoach stage. Take a trip back in time to watch Bush perform, then end the night tuning into Mr. Worldwide taking over the desert as Pitbull closes out the Saturday performances.
The festival will be livestreamed on Amazon Music, Prime Video and Twitch. On Sirius XM’s the Highway (channel 56), you can listen to exclusive interviews and live performances. Their station Y’allternative will also be covering the festival on Saturday.
Here are updated set times for the Stagecoach livestream Saturday performances (times presented in PDT):
Channel 1
3:10 p.m. Kevin Smiley; 3:30 p.m. Braxton Keith; 4:05 p.m. Redferrin; 4:40 p.m. Corey Kent; 5:35 p.m. Teddy Swims; 6:20 p.m. Treaty Oak Revival; 7:20 p.m. Little Big Town; 8:20 p.m. Riley Green; 9:30 p.m. Lainey Wilson; 11 p.m. Pitbull
Channel 2
3:10 p.m. S.G. Goodman; 3:30 p.m. Lane Pittman; 4:05 p.m. Benjamin Tod; 4:40 p.m. Michael Marcagi; 5:20 p.m. Willow Avalon; 5:55 p.m. Billy Bob Thornton & the Boxmasters; 6:40 p.m. Chase Matthew; 7:20 p.m. Charles Wesley Godwin; 8:10 p.m. Bush; 9:10 p.m. Gavin Adcock; 10:20 p.m. Two Friends
Sirius XM The Highway
4 p.m. Corey Kent; 6:30 p.m. Little Big Town; 7:50 p.m. Riley Green; 9 p.m. Lainey Wilson
Sirius XM Y’allternative
9 a.m. the Red Clay Strays; 11 a.m. Larkin Poe; 12 p.m. Ole 60; 1 p.m. Sam Barber; 2 p.m. the Marcus King Band; 6 p.m. S.G. Goodman; 8 p.m. Treaty Oak Revival
A man stands before a stock market indicator board in Tokyo, Japan, 23 April 2026. Tokyo’s Nikkei Stock Average briefly crossed the 60,000 line for the first time since its launch in 1950. Photo by FRANCK ROBICHON /EPA
April 24 (Asia Today) — Japan’s Nikkei 225 Stock Average briefly topped 60,000 for the first time Thursday, setting a record milestone as artificial intelligence and semiconductor-related shares led gains.
The index rose as high as 60,013 during morning trading, MarketWatch reported. But analysts said the rally was concentrated in a small group of high-priced technology shares, leaving the broader market less buoyant.
The Nikkei 225 is calculated as a price-weighted average of 225 stocks, meaning companies with higher share prices have a larger effect on the index. SoftBank Group, Advantest and Tokyo Electron were among the AI and semiconductor-related stocks that helped push the benchmark higher.
Foreign investors have focused on semiconductor-related companies because they are closely tied to the AI supply chain and offer clearer near-term earnings visibility, analysts said.
JPMorgan Chase reflected that optimism by raising its year-end Nikkei target to 70,000 from 61,000, citing the AI boom and a weaker yen, Reuters reported.
Still, the broader market has not risen at the same pace. The Topix index and the Yomiuri 333, an equal-weighted index, have not recovered to their late February highs. That suggests the latest rally is being driven more by large technology stocks than by broad-based market strength.
The Nikkei later gave up gains as investors took profits after the record intraday high. Some strategists said the rapid rise has raised concerns about overheating and could lead to a short-term correction.
Whether the rally can continue may depend on whether buying spreads beyond semiconductors to domestic demand, financial and manufacturing shares. If gains remain concentrated in a few high-priced stocks, the Nikkei could rise further while many investors and consumers feel little improvement in the broader economy.
Today I watched as Shohei Ohtani, the day after pitching seven innings, go 0 for 5 with two strikeouts while grounding into a double play. The sample size, at this point, has to be large enough for Dave Roberts and the Dodgers’ management to discuss the elephant in the room with their lead-off batter. He should not bat when he pitches, and he should have a day off after he pitches.
It could also be argued that he should not be the lead-off batter — his average and on-base percentage are lower than, say, Hyeseong Kim, who is also faster and would be a distraction for an opposing pitcher as a threat to steal. It would also give someone for Shohei to drive in if he dropped down the order a spot or two. If baseball is a numbers exercise, then the Dodgers need to do the math.
Peter Maradudin Burlingame
I have seen enough of Kyle Tucker to know the Dodgers lineup of Shohei Ohtani, Mookie Betts, Freddie Freeman, Will Smith, Tucker, Teo Hernández, Max Muncy, Andy Pages and Hyeseong Kim needs to be changed. Kim has better defense and is a base-stealer. Freeman is not a switch hitter since he can’t hit from the right side. Also, no lefty in the bullpen knows how to throw a screwball?
Sophy Romvari’s luminous debut feature “Blue Heron” is a loving and studious act of remembrance. Her protagonist and surrogate, Sasha (Amy Zimmer), attempts to understand her family’s past through a reverent process of recreation. While she finds that not everything can be understood, there is beauty and solace in the journey itself — and maybe a kind of catharsis.
“Blue Heron” is an autobiographical project, but it’s more apt to call it a memoir. Sasha admits she doesn’t remember much of her childhood and doesn’t even trust the fragments. But she will try anyway. As Sasha zooms in on her iPhone, standing at the bluff overlooking her hometown, Romvari rolls up the back of a moving truck to deliver a lush slice of ’90s childhood nostalgia, picking up the memory as her Hungarian immigrant family — two parents, three brothers and one sister — arrive at their new home on Canada’s Vancouver Island.
Father (Ádám Tompa) settles into work on the home computer; Mother (Iringó Réti) attempts to amuse the kids with trips to the beach and nature preserves. Snippets of summer filter through the eyes and ears of 8-year-old Sasha (Eylul Guven) and in the photos snapped by their parents.
But a disquieting presence looms: Jeremy (Edik Beddoes), the eldest son. Blond, light-featured and tall, he is visually distinct from the three other children and his silent rebellion permeates the atmosphere.
His misbehavior is minor — irritating but untenable when stacked together — like bouncing a ball against a wall, disappearing for fun or climbing on the roof. He mostly just seems like a moody, unsatisfied teen, drawing elaborate maps and sometimes playing with his siblings sweetly. It all seems like harmless mischief until it escalates.
The movie’s title refers to a key chain from a gift shop that Jeremy, who almost never speaks, presents to his younger sister. Like him, the film is quiet and meditative, bathed in the cool blues and verdant greens of the setting, captured in Maya Bankovic’s saturated cinematography. We are transported to a place of natural beauty and a period of seemingly unlimited time. But Jeremy-related tension simmers beneath the domestic surface, just as it does in Chantal Akerman’s 1975 landmark “Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles,” referenced in a shot of a mother and daughter peeling potatoes.
“Blue Heron,” though, is not just going to simply be a throwback family drama about a troubled boy and his younger sister. The film suddenly zooms out, linearly, to two decades later. Zimmer’s older version of Sasha is grappling with her brother’s void and she does so with her mind, her work, her actions. She conducts a focus group of social workers for a documentary in order to try to understand Jeremy’s behavior and the treatment he got at the time. She scrubs through video and photos and interviews a case worker. She escapes into old movies.
In Romvari’s award-winning 2020 short “Still Processing,” a companion piece to “Blue Heron,” she processes the loss of two brothers through photography, sifting through boxes of old photos and film negatives shot by her father, who trained as a cinematographer in Hungary. It seems natural for Romvari to access the emotional through artistic practice, to give her — and Sasha — something to do with their hands. The tactility of the photographs in “Still Processing” provide an access point to the past. Romvari weeps as she spreads them out on a table, saying “hi” softly to her brothers. But there’s a remove in the rigorous focus on the snapshots that perhaps also protects her from the full crushing weight of these emotions.
But in a film like “Blue Heron,” anything is possible, including time travel, and for Romvari, it’s the channel that she offers Sasha to achieve the closure that she needs: a visit to a time she doesn’t really remember, even as she’s building an archive of materials to bolster herself.
If young Sasha watches (and Guven is absolutely terrific at watching), the older Sasha speaks. Zimmer, a New York City comedian, is tasked with a heavy, grief-laden dramatic role, and she’s utterly convincing, entrancing in her stillness. But she also has a way with words, a clarity that rings with a rare kind of honest empathy, especially in a letter that Sasha reads to her parents.
That letter is what “Blue Heron” represents for its filmmaker — an attempt to re-create the past, to bring it back to life. Even if imperfect, the value is in the effort, in the ongoing practice of remembering, as an act of devotion to family and self.
‘Blue Heron’
In English and Hungarian, with subtitles
Not rated
Running time: 1 hour, 30 minutes
Playing: Opens Friday, April 24 in limited release
As tensions ramp up amid fragile truce, US military says it ‘redirected’ 34 vessels as part of blockade on Iran’s ports.
Published On 24 Apr 202624 Apr 2026
The United States has three aircraft carriers in the Middle East for the first time in 23 years with the arrival of the USS George HW Bush, the US military has said, amid a fragile ceasefire with Iran.
The Middle East-based Central Command (CENTCOM) of the US military said on Friday that the carriers include 12 accompanying ships, more than 200 aircraft, and 15,000 soldiers.
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“For the first time in decades, three aircraft carriers are operating in the Middle East at the same time,” CENTCOM said.
The last time the US amassed that amount of military assets in the region’s waters was in the lead up to the US-led invasion of Iraq in 2003.
The other two US aircraft carriers in the region are USS Abraham Lincoln and USS Gerald R Ford, which is the largest in the world.
The show of force signals that the US is preparing to return to fighting should the fragile ceasefire between the US, Israel and Iran unravel.
Diplomacy between the two countries has been in limbo, with Iran setting the lifting of the US naval blockade against its ports as a condition for resuming the talks.
US President Donald Trump announced extending the truce on Wednesday, but he said the naval siege would persist.
For its part, Iran has reblocked the Strait of Hormuz in response to the US blockade after declaring the waterway completely open last week when the regional ceasefire was extended to Lebanon.
Trump has not set a deadline for the extended ceasefire and suggested that he is comfortable with the status quo, which he argues is depleting the Iranian economy at a low cost for the US.
“I have all the time in the World, but Iran doesn’t,” he wrote in a social media post on Thursday.
The US president was later asked how long he would be willing to wait before receiving a proposed deal from Iran. He said: “Don’t rush me.”
Iran has described the blockade – which has seen US forces seize at least two Iranian oil ships – as an “act of war”.
Iranian forces have also captured foreign commercial ships in the Hormuz Strait, accusing them of violating maritime regulations.
With negotiations on hold, Trump has shown no signs of willingness to lift the siege in order to facilitate talks.
On Friday, the US military said it has “redirected” 34 vessels in the region. “The blockade against ships entering or exiting Iranian ports continues,” CENTCOM said.
Trump has previously threatened to destroy Iran’s civilian infrastructure, including bridges, power and water stations.
Israeli Defense Minister Israel Katz said on Thursday that his country is awaiting the green light from Trump to return Iran to the “age of darkness”.
“Israel is prepared to renew the war against Iran. The [Israeli military] is ready in defence and offence, and the targets are marked,” Katz said, according to The Times of Israel newspaper.
Kobe Bryant rookie trading cards aren’t particularly rare. And because rarity equates to value, standard issue 1997 cards featuring the late Lakers great retail for a pedestrian $100 to $300.
Then there are 1997 Kobe Bryant Metal Universe Precious Metal Gems Green cards, which just by typing that highfalutin name can give even the most savvy collector goose bumps.
The key word is green. Most Bryant rookie Metal Universe Precious Metal Gems cards have a red background and fetch around $300,000. Only 10 were made with a metallic green background and only three have been graded by respected grading firm Professional Sports Authenticator (PSA).
So green translates to greenbacks. Alt, a company that enables users to sell, buy and securely store collectible cards, announced Thursday it purchased one of those — take a breath first — 1997 Kobe Bryant Metal Universe Precious Metal Gems Green cards in a private transaction for $3.15 million.
The company said on Instagram that the purchase makes it the most expensive Bryant card ever sold, eclipsing the previous record of $2.4 million set in September. Another copy of the same card sold for $2 million in 2022.
“It was on every collector’s wall, in every price guide, at the top of every wish list,” Alt CEO Leore Avidar Avidar said on Alt’s Instagram page. “Acquiring it for our fund is personal, but it’s also a reflection of where this market has gone.”
The image of Bryant in midair passing — not shooting! — highlights the card, which earned a PSA 5 grade.
The card adds to Alt’s impressive collection. The fund set price records at time of purchase for LeBron James, Stephen Curry and Giannis Antetokounmpo cards in addition to the one of Bryant.
The most paid for a sports trading card was $12.932 million for a 2007-08 Upper Deck Exquisite Collection Dual Logoman Autographs signed card featuring Bryant and Michael Jordan last fall. The purchase was made by investor and “Shark Tank” personality Kevin O’Leary along with veteran collectors Matt Allen and Paul Warshaw and surpassed the previous record of $12.6 million held by a 1952 Topps Mickey Mantle card.
The Bryant/Jordan card is the second-most expensive sports collectible of all time behind Babe Ruth’s 1932 World Series “called shot” jersey, which sold for $24.12 million in 2024.
High-end Bryant cards remain coveted by collectors. Allen, well known in the industry as Shyne150, privately spent $4 million on two Bryant 1-of-1 signed Panini Flawless Logoman cards.
Choosin’ to stay home instead of trekking out to Indio for this weekend’s Stagecoach festival? Don’t worry, you’ll be able to listen to all the country music your heart desires. You can get your country heartbreak on with Ella Langley, Bailey Zimmerman and Cody Johnson, and then rock out with Counting Crows. If you prefer EDM, you can catch Diplo and Dillstradamus (Dillon Francis and Flosstradamus) as Friday’s closing acts.
The festival will be livestreamed on Amazon Music, Amazon Prime Video and Twitch beginning at 3 p.m. On Sirius XM’s The Highway (channel 56), you can listen to exclusive interviews and live performances along with a special edition of the Music Row Happy Hour. The station Y’Allternative will also be covering the festival on Friday evening.
Here are updated set times for the Stagecoach livestream Friday performances (times presented are PDT):
AFTER 14 episodes, I’m A Celebrity All Stars is set to conclude at the grand finale with the winner set to be announced TONIGHT.
What was once 12 has now become four as the remaining celebs prepare to learn their fates.
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I’m A Celebrity All Stars is set to be concluded at the grand finale with the winner set to be announced tonightCredit: SplashHosts Ant and Dec will announce the winner tonightCredit: Shutterstock Editorial
What time is the I’m A Celeb All Stars final on tonight?
The final instalment of I’m A Celeb All Stars will be shown live tonight from an ITV studio in London.
It will be shown across two parts, with the first section running from 7.30pm to 9pm, and the second from 10pm to 10.30pm.
Votes will be counted by the 10pm programme, where the winner will be confirmed by hosts Ant and Dec.
Beverley Callard unfortunately won’t be present at the final due to medical reasonsCredit: Shutterstock Editorial
Which stars are in the final?
As previously mentioned, just four celebs remain in the show after eight departures happened in South Africa.
The final four include Harry Redknapp, Mo Farah, Craig Charles, and Adam Thomas.
That means for the first time in over two decades the show has an all-male final – confirming that the winner will be King of the Jungle rather than Queen.
Football legend Harry Redknapp will be hoping he can repeat history as he won the show back in 2018, while Mo Farah has already beaten his last appearance back in 2021 where he placed fifth.
Fan favourite Craig Charles was amongst the top contenders to win the show when he first appeared in 2014, before having to leave the series early after his brother Dean suffered a fatal heart attack.
Whereas actor Adam Thomas will be hoping to win the show after experiencing drama with David Haye and Jimmy Bullard during his time in the jungle.
For the first time in over two decades the show has an all-male finalCredit: Shutterstock Editorial
Who has been eliminated from the show?
Eight celebs have left the show in order to get to the final four.
The first to go was comedian Seann Walsh on day nine after being given the boot by Team Lion leader and finalist Harry Redknapp.
Next up to leave the jungle was controversial campmate David Haye on day 11 after a campmate vote-off.
Before Gemma Collins packed her bags in the same episode after David chose her when given the choice of another celeb to leave the camp with him.
Beverley Callard was next to leave on day 12 due to medical reasons and has since confirmed she won’t be present at the live finale after being diagnosed with breast cancer.
The most shocking elimination was Jimmy Bullard’s as he called out “I’m A Celebrity Get Me Out Of Here!” during a trial.
His decision to quit caused a row between him and Adam Thomas as the campmates were paired up and relying on each other – meaning Jimmy took Adam down with him by quitting.
Fortunately for Adam, who has since progressed to the final, the rules were bent and he was allowed to remain in the jungle.
Ashley Roberts and Sinitta were both recently eliminated off the back of being slowest to finish their trials.
Whilst Scarlett Moffatt was kicked out just 24 hours before the grand finale after losing a trial called Keep Your Eye on the Ball.
A HISTORIC Gloucestershire lido may not open in time for summer, as the council review risk assessments into its damaged infrastructure, reports the BBC.
The site, that saw its heyday back in the 1940s, is struggling under the burden of its ageing facilities.
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Stratford Park Lido has been in Stroud for nearly a centuryCredit: Stroud District CouncilNow, a risk assessment showed that the ageing facilities were not fit for purposeCredit: Getty
The Stratford Park Lido, located in Stroud, Gloucestershire, has been serving open air swimmers since 1937 and cost £20,000 to build.
Recently, there were suggestions that the lido could reopen this summer, after Stroud District Council agreed to explore cheaper repair options.
The council had warned that safety concerns and a £5million repair bill would ultimately take too long to settle in time for summer.
However, during a meeting earlier this week, discussions arose that the lido would be unlikely to open this summer due to the condition of the facilities.
Russell Brand, the British comedian and actor who has been accused by multiple women of rape and sexual assault, said his sexual flings amid the height of his fame in the early aughts included sleeping with a 16-year-old girl.
Brand confirmed the relationship to Megyn Kelly on the the latest episode of her eponymous podcast and YouTube show published Wednesday. “I did sleep with a 16-year-old when I was 30,” he said, “but when I was 30 I was a different person. I was a lot younger and I was an immature 30-year-old.”
The “Get Him to the Greek” actor, 50, emphasized that the age of consent in the United Kingdom is 16 and reflected on his behavior at the time, adding that he thinks having consensual sex as a famous person “involved exploitation.” He said he felt fame and addiction paved the way for “opportunity for endless consent which led me to be a hedonist and a fool and exploiter of women.”
“That is wrong and that is something that needs to be redeemed and addressed and atoned for,” he added.
Brand’s relationship with a 16-year-old girl became public in 2023 when the Times of London and Britain’s Channel 4 published a joint investigation detailing allegations of rape, sexual assault and other abusive behavior against the once-in-demand actor. One of the women who raised allegations against Brand said she became involved with the former actor when she was 16 and he was 31, and that he referred to her as “the child” in their relationship. According to the woman, Brand reportedly forced his penis down her throat, making it difficult to breathe, and she fought him off by punching him in the stomach. Brand denied the claims at the time.
The investigation centered on alleged incidents that occurred between 2006 and 2013 — the peak of Brand’s Hollywood fame — and laid the groundwork for additional complaints against the raunchy comedian to come to light.
In April 2025, the Metropolitan Police Service charged Brand with single counts of rape, indecent assault, oral rape and two counts of sexual assault connected to alleged attacks on multiple women between 1999 and 2005. U.K. authorities pressed additional rape and sexual assault charges against the “Forgetting Sarah Marshall” actor in December. He will stand trail in October.
Brand, ex-husband to pop star Katy Perry (who is facing her own sexual assault scandal),fell mostly out of public favor within the past decade and pivoted his focus to religious and “free-thinking” content. Last year he appeared at Turning Point USA’s AmericaFest 2025.
At the beginning of the podcast episode, Kelly said that after learning about allegations against Brand she “felt anger for a couple years” toward the actor. However, Kelly said she grew open to speaking with him after some time and an “enormous amount of open-mindedness to [Brand] being railroaded and attacked by people.”
Notably, Kelly in November offered a flimsy definition of pedophilia when it came to late convicted sex offender Jeffrey Epstein. Citing “somebody very close” to Epstein’s case, Kelly said Epstein “ was into the barely legal type, like, he liked 15-year-old girls,” Kelly continued.
“I’m not trying to make an excuse for this, I’m just giving you facts — that he wasn’t into, like, 8-year-olds,” she added at the time. “But he liked the very young teen types that could pass for even younger than they were, but would look legal to a passer-by.”
Times staff writer Meredith Blake contributed to this report.
MORE than three decades after London helped launch her career, Tori Amos is back in the city, headlining the Royal Albert Hall for a tenth time.
The US singer is chatty and upbeat despite staying up until 5am, still riding the high of her gig the night before.
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Tori Amos is back with her 18th album, In Dragon TimesCredit: Kasia Wozniak.Tori playing London’s Albert Hall on TuesdayCredit: Getty
With her striking red hair falling in waves and her vivid green eye make-up, Maryland-raised Tori, who has called Cornwall home since the late Nineties, looks every inch the star.
“London was the place that gave me my big exposure explosion,” she says.
“It really did shake my life up. And here we are again.
“London broke Silent All These Years in the autumn of 1991, and then launched [debut album] Little Earthquakes, which rippled out to the States and the rest of the world.
“America really discovered me through London, and then the UK did, too. From there, it just kept rippling outwards.”
On her forthcoming 18th album, In Times Of Dragons, Amos turns political dread, female resistance and personal storytelling into something unique and mythic.
She says: “I’m very reclusive at home and I’m not very sociable there so when I’m on tour I go from this insular life, where I do a lot of reading, music and writing, and step into this much more exposed life.”
The contrast between Amos’s secluded home life and her role as a performer feeds directly into an album shaped by both personal reflection and political unease.
The record is a response to the current political climate in America because, as a songwriter “a lot of my work is documenting time,” she tells me.
“That’s what I did with Little Earthquakes, which followed my time of failure after [her synth band] Y Kant Tori Read when I had to go back to play piano bars.
“I have a history of documenting things — my miscarriage in 1998 and that journey, then my 2002 album Scarlet’s Walk which documented 9/11 when I actually wrote some of it on the tour bus.”
The idea for In Times Of Dragons came through the muses — otherworldly entities — that Amos believes bring her music.
She has spoken widely about these guiding forces, which she says have inspired her songwriting since childhood.
And last year she published children’s book Tori And The Muses, all about them.
She says: “This message came to me through the muses that I needed to document America at this pivotal time in history.
“And I had to personalise this.
“It came to me a year ago that I needed to be me in the story and be closely connected to one of these people, and what that would look like, because they are personally affecting us.
“I had to turn the volume on that to create this narrative, whatever turning into a dragon looks like.”
The album follows the story of Tori trapped in a world run by billionaire tech moguls and lizard dragons, who threaten democracy through corporate greed and authoritarianism.
Amos says: “Jane Mayer writes about the genesis of this in Dark Money, which is one of the most important books people need to read if they’re asking, ‘How did we get here?’.
“This has been going on since the Seventies.
“As Mayer documents, figures like the Koch brothers — and I use that as an umbrella term for a wider movement — helped shape it, along with super PACs [organisations that spend millions supporting political candidates] and all the rest.
“It seems there was an understanding that progressive teaching in universities had to be excavated, cut back and penetrated by a very tight right-wing philosophy that is now upon us.
“And I’m not just talking about Republicans and Democrats. I’m talking about tyranny versus democracy.
“If you had asked me about this even around the Scarlet’s Walk era, I was already going after it through that record, and then through [2007 album] American Doll Posse during the Bush-Cheney administration with the wars, the manipulation, all of that.
“Then there was a period of relief, when a different, more inclusive philosophy came in, whatever your politics are.
“For me, it’s about the philosophy.
“As a songwriter, I’ve been tracking that through my career.
“On this record, I had to take a personal journey and look at the effects of what this very small cabal of men is doing — and there are women involved too, we can’t get confused about that.
“There’s Cambridge Analytica, the involvements of the Mercers, Rebekah Mercer [the right-wing US heiress and political donor] and all those interconnections.”
The album’s story sees Amos’s character flee and reunite with her daughter.
This part is played by her real-life daughter Natashya, who co-wrote tracks Veins, Strawberry Moon and Stronger Together — the latter of which she also sings backing vocals on, and is one of the most emotional songs on the record.
“She was in DC at the time, in law school, and she graduates in a few weeks,” says Amos proudly.
“She’s going into criminal law and really had her finger on the pulse.
“On a daily basis she’s seeing things that the wider public probably isn’t, unless you’re a political journalist.
Tori in a shoot for the new album. An actress portrays her daughter, who co-wrote three songs and sings backing vocalsCredit: Unknown
“We’re so inundated that the little freedoms being quietly taken away can be missed.
“Criminal law is her calling.
“So, writing these songs with her, with her understanding of what’s happening in the field she’s chosen, and her exposure to the shock of what is being torn to pieces, was hugely important.
“She says we are past constitutional crisis and what’s going on is absolutely shocking.”
The final song, written last- minute for the album, is Ode To Minnesota — a response to the deaths caused by ICE agents there.
She says: “Heinous, atrocious crimes are being committed and so this is the world of the record.”
Amos, 62, has a long history of addressing America in song, and In Times Of Dragons continues that while exploring wider patterns of male power.
It’s also a reminder of her role as a feminist icon and the influence she’s had on artists such as Lady Gaga, Florence Welch and St Vincent (real name Annie Clark).
“Annie’s one of my dear friends,” she says of St Vincent.
“She’s fabulous. We have a giggle and I’m thrilled for her, for her art, and for the way she’s balancing motherhood so beautifully.
“It’s lovely to see people who came to my shows when they were younger.
“She’s talked to me about Choirgirl [Tori’s 1988 album From The Choirgirl Hotel] and what it meant to her when she first heard it, and we’ve had laughs about that.
“And it’s the same with the guys too.
“I’m off to an event later and the guy doing the Q&A used to stand by the stage door as a teenage gay kid.
“To see these people grow up, and to still be able to bask in their creativity and development, is a beautiful thing to witness.”
But while Amos is moved by the artists and fans who have grown up with her work, she is hesitant to define her own feminist legacy.
She says: “It’s not for me to say, that’s more for other people to decide.
“Believe it or not, I’m a bit introverted about that.
“What I think I’ve tried to do, and what I have done, is there for those who know it.
“What’s important to remember is that there was no social media then.
“When people ask, ‘Was it easier back then?’, well, in some ways no, and in others yes.
“We did have a music business with a few women in record companies, though only a few in executive positions.
“One or two could balls their way through, but you really had to.
“And if you didn’t have that tenacity in the Nineties — especially to get played on radio — it was tough.
“At an alternative station in the States, they might add two women out of 64 slots, and the other 62 would be men.
“I’ve spoken about that with some of my contemporaries over the years, Alanis [Morissette] being one of them, and it was not a good feeling — knowing that talented women with very good records were simply not being added to the station.
“And touring took money.
“That’s why I never had tour support.
“In the early days, I went out with just a piano, my tour manager and a sound guy. That was it.
“We kept the costs down, and luckily the shows sold out, because the Press had really got behind me.”
Today, Amos points to Dolly Parton as proof that women can keep evolving, performing and owning the stage on their own terms as they get older.
“She is fantastic and she’s aware we are a different generation that played this game and played it well,” says Amos.
“There are women who are still playing the game beautifully, and they still have the physicality and the health to do it.
“I used to have a three-and-a-half octave range when I was doing those one-woman shows.
“But with the change of life — becoming a dragon, if that’s the menopause analogy — you adapt or you collapse.
“For me, it wasn’t a crisis in the way it has been for some women we’ve read about in the Press, and I have huge empathy for that.
“But vocally, I did have to make changes.
“I didn’t want to alter the top lines of songs with those very high, wide-ranging melodies, so on the last tour I simply didn’t play them.
“Then I thought, ‘No, that isn’t what I want.
“I want the whole catalogue available to me as a storyteller’.
“So, I decided to bring in backing singers who could hit those notes.
“It was a strategic, compositional choice.
“I didn’t want to be in a position where I could only perform 40 per cent of my catalogue because of range.
Tori at the 1992 MTV Video Music Awards in Los AngelesCredit: Getty
“And we’re having a blast.
“They’re amazing singers.
“I’ve gained four notes at the lower end and I feel like I’m down there rocking with Nick Cave, but that’s the trade-off.
“I gained more on the lower end, while recognising that if I want to play those songs, you can only transpose them down so far before they lose their essence.
“I have so much respect for Nick Cave.
“I used to run into him in the early Nineties.
“His work has always been a beacon of beauty and darkness — expansive work that makes you think.”
Like Cave, Amos remains restlessly creative, and she is already thinking about where to go next.
“After something as demanding as this, I’m doing a prequel to children’s book Tori And The Muses — that will be out next year,” she says.
“Her journey as a little girl with her muses.
“It’s due next April — and there may be music to go with it too.”
In Times Of Dragons is out on May 1.
Tori Amos’ In Times Of Dragons is out on May 1Credit: Kasia Wozniak.
Real Madrid could close gap on La Liga leaders Barcelona to six points on Friday, three weeks shy of a Clasico meeting.
Who: Real Betis vs Real Madrid What: Spanish La Liga Where: Estadio La Cartuja de Sevilla in Seville, Spain When: Friday at 9pm (20:00 GMT) How to follow: We’ll have all the build-up on Al Jazeera Sport from 17:00 GMT in advance of our live text commentary stream.
Real Madrid will continue their pursuit of league leaders Barcelona when they travel to Real Betis on Friday, but the record La Liga winners know that any slip-up now will be terminal for their hopes of lifting silverware this season.
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Barca play at Getafe on Saturday but only narrowly beat Celta Vigo on Wednesday to respond to Real’s latest win a day earlier.
It has been a turbulent season for Los Blancos on and off the field, but they are still fighting. Al Jazeera Sport takes a closer look at their latest fixture.
How is the La Liga race between Real Madrid and Barcelona looking?
Barcelona are nine points clear of Real after their 1-0 win against Celta Vigo.
The two Spanish giants have been eliminated from the UEFA Champions League, where they both stood as favourites.
The quarterfinal exits for both came as a shock and leave all focus now on the La Liga race, which has only six rounds of matches remaining.
What is Real Madrid’s form before the Real Betis match?
Real’s season has lurched from bad to worse. Their run of 13 wins from the first 14 games of the season under new coach Xabi Alonso is a distant memory.
Barcelona have long since held a grip on the La Liga title, which has been strengthened by Los Blancos winning just one of their last three league matches.
Back-to-back La Liga defeats in March at Osasuna and at home to Getafe handed Barca full control of the league although a run of three wins thereafter kept them on the Catalans’ tails.
There is little doubt, though, that no further points can be dropped from this point forward for the Madrid giants.
Including the Champions League defeats by Bayern Munich, Real’s 2-1 win against Alaves on Tuesday was their first win in five matches, a run that saw them lose three games.
Will Real Madrid play Barcelona again in a Clasico this season?
One of the hopes that Real are clinging to in the final six games of the La Liga season is that they do still have to play Barcelona in a Clasico.
The match on May 10 at Barcelona will offer the chance to trim their rivals lead, if only by three points. Three further rounds of La Liga matches will follow that game.
What happened the last time Real Madrid played Real Betis?
Real Madrid stormed to a 5-1 home win in their previous La Liga meeting this season with Gonzalo Garcia netting a hat-trick in the fixture on January 4.
Raul Asencio and Fran Garcia were also on the scoresheet while Cucho Hernandez scored a consolation goal midway through the second half for Betis.
What happened in the corresponding La Liga fixture last season?
Betis came from behind to win 2-1 at home against Real Madrid in this fixture last season.
Brahim Diaz had given Los Blancos the lead, but Johnny Cardoso and Isco, with a penalty against his former club, turned the game.
Head-to-head
This will be the 143rd meeting between the sides with Real winning 78 of the matches while Real Betis have emerged victorious on 32 occasions.
Real Betis team news
Betis have former Manchester United winger Antony back from a one-match suspension.
Junior Firpo misses out with a knock, but Diego Llorente and Angel Ortiz are still in with a chance of featuring despite ankle and muscle problems, respectively.
Real’s faint hopes of overhauling Barcelona in La Liga suffered a further blow on Thursday with both Eder Militao and Arda Guler ruled out for the rest of the season.
Brazilian defender Militao has a left thigh injury while Turkish attacking midfielder Guler is sidelined with a right thigh problem, the club said.
For now, neither Militao, 28, nor 21-year-old Guler is considered at risk of missing the World Cup finals.
Ninety-five years ago next month, Aurelio Manrique Jr. landed a job as a mild-mannered L.A. Times columnist. But the resume this native of the central Mexico state of San Luis Potosí brought to the paper was that of a firebrand.
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Medical student turned political prisoner. Fought in the Mexican Revolution. Governor of his home state. Trusted advisor of general-turned-president Álvaro Obregón. Founder of a left-wing political party. Mexican legislator. He even took to the floor of Mexico’s congress to denounce former president Plutarco Elías Calles as a farsante — a phony — and then pull a gun on a rival who took issue with his vitriol.
Tall, with round wire glasses and a shock of black hair that was the inverse of his Moses-like beard, Manrique cut an exciting figure in Latino L.A. when he arrived as a political exile in 1929 after the so-called Escobar rebellion, which was an attempt to overthrow the Mexican government. A Oct. 28, 1929 Times dispatch noted that “it is not uncommon to find among the shabby, shuffling street venders [sic] of Sonoratown” former Mexican bigwigs “offering sweetmeats and trinkets from trays” in an effort to survive.
Finding a home in L.A.
They, like so many other political refugees before and since, made L.A. a home but also a place to fight for the freedom of their homeland.
Manrique, on the other hand, was hailed as the “intellectual head” of his fellow Mexican refugee politicos and an “accomplished linguist” who spoke Spanish, English, French and German.
“He stands in my memory as a pillar of fire because, at all times, he has never been afraid to do or say what he considered to be right, regardless of his own personal or political fate,” an admirer would recall decades later in the Virginia Quarterly Review.
The revolutionary found welcome audiences across the Southland with lectures and Spanish-language radio show appearances to talk about what was going on in his home country. He participated in Mexican Independence Day and Cinco de Mayo festivities and even found work in Hollywood films as everything from a British lord to an Arab sheikh.
But reputation doesn’t pay the bills, so Manrique also offered translation and interpreter services from a small Bunker Hill office. He also held Spanish-language classes twice a week at the L.A. Central Library. Soon after, The Times — a paper that back then loathed leftists of all stripes — hired Manrique as a columnist in May 1931. He was to be in charge of its daily Spanish-language roundup of world and local events, which the paper had regularly published since 1922.
The revolutionary plays a more reserved role
I wish I could say that Manrique used his platform to inveigh against the mass roundups of Mexican Americans that kicked off that year and that would lead to the repatriation of hundreds of thousands of Mexican Americans, citizens and not, during the 1930s. Or that Manrique taught his Times bosses that Latinos were more than domestic help or a societal scourge. Or that he deserves a spot in the pantheon of legendary Times metro columnists like Jack Smith, Ruben Salazar and Steve Lopez.
Alas, it was not to be.
The daily columna was just a roundup of wire stories published in Spanish, part of The Times’ effort to teach the language of Cervantes to those interested. Every Monday, the 40-year-old Manrique also wrote Platicas de Los Lunes [Monday Lessons], a place for the professor to teach new words to readers via translations, poems and sample sentences.
Manrique’s last byline was April 25, 1932. In the hundreds of columnas he wrote for us, I found nothing even remotely hinting at the progressive lion that Mexicans in Southern California knew him as. But in an era in which Latino visibility in Anglo Southern California was nonexistent when it wasn’t heavily stereotyped, Manriquez’s brief tenure at The Times was an important step for future Latino writers at the paper, all of us whom owe a debt to the man.
He returned to Mexico in early 1933 after President Abelardo L. Rodríguez announced amnesty for him and other exiles. The former revolutionary spent the rest of his life working for the Mexican government, most notably as ambassador to Scandinavian countries from 1946 to 1956.
In 1962, the retired Manrique returned to his old L.A. stomping grounds one final time five years before his death for a lecture at the Alexandria Hotel.
“He finds Los Angeles completely changed,” La Opinión reported, “and told us, with a tone of barely concealed sadness, that many of those who knew him had disappeared.”
The fate of all Angelenos, alas.
Today’s top stories
Republican gubernatorial candidate Steve Hilton speaks at a March 7 town hall in Mentone.
(Gina Ferazzi / Los Angeles Times)
A Trump-endorsed Republican could become California’s next governor
A second ticket drop for the Olympics
A second ticket drop is set to open in August and will offer refreshed inventory across all sports at a range of prices.
Those who registered but did not receive a slot in the first ticket drop or did not buy all 12 of their tickets will be enrolled in a lottery for a spot in the second ticket drop.
The parks will serve historically underserved communities with recreation and historic preservation.
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The waffle with maple butter is the drive-across-town dish at celebrity-backed Max & Helen’s, the Larchmont diner opened by Phil Rosenthal and Nancy Silverton.
(Ron De Angelis / For The Times)
Going out
Staying in
A question for you: What’s your favorite California-themed book?
Marya says, “Hard Times in Paradise” by David and Micki Colfax.
Cristina says, “Grapes of Wrath” by John Steinbeck.
On this day 21 years ago, “Me at the zoo” was the first video uploaded to YouTube, opening the door to a new medium of television.
For the 20th anniversary last year, The Times’ Wendy Lee wrote about the video sharing platform and how it changed TV as we know it.
Have a great day, from the Essential California team
Jim Rainey, staff reporter Hugo Martín, assistant editor, fast break desk Kevinisha Walker, multiplatform editor Andrew Campa, weekend writer Karim Doumar, head of newsletters
Plucked from a previous life as a working actor, Richard Gadd experienced a disorienting whirlwind less than two years ago. “Baby Reindeer,” his painfully personal 2024 Netflix show, based on the sexual assault he survived, instantly opened the floodgates of fame for him.
“The show came out on Thursday, and by Sunday, I could barely walk anywhere without being recognized, without being stopped,” Gadd says while visiting The Times’ offices earlier this month. “That’s an adjustment because I always thought if anything like that ever happened, it would be a bit more of a gradual process. But it was overnight, so I didn’t have time to adjust.”
Now the winner of three Emmy Awards and a slew of other accolades for that series, which he starred in, wrote and served as showrunner, Gadd, 36, has already helmed a new emotionally ferocious show.
Probing the tropes of rigid masculinity, “Half Man,” premiering Thursday on HBO, chronicles the destructive bond between two men over several decades. Niall and Ruben — whose respective mothers are romantic partners — call themselves brothers but they couldn’t be more dissimilar.
Bullied at school, meek Niall (played by Mitchell Robertson in his youth and Jamie Bell in adulthood) lost his father as a young boy. He dreams of being a writer. Meanwhile, the insolent and hyper-confident Ruben (Stuart Campbell as a teen and Gadd as a grown-up) has been in trouble with the law from a tender age. Facing any conflict, he resorts to brutal violence. When Ruben takes Niall under his wing, the two become inseparable. But as the years and resentments pile on, their cancerous brotherhood threatens to obliterate them both.
“Half Man” follows the destructive bond between Ruben (Richard Gadd), left, and Niall (Jamie Bell) over several decades.
(Anne Binckebanck / HBO)
“Richard’s writing is really unique and really singular,” Bell says on a video call from England, where he’s currently shooting the “Peaky Blinders” sequel series and is sporting a shorter haircut. “He identifies that real gray area of humanity really well and he puts a voice to the most uncomfortable places that we go into or things that we think when we’re alone in the dark, when we think no one’s watching.”
Gadd wrote the first episode of what would become “Half Man” back in 2019, while he still was performing the live version of “Baby Reindeer,” which he turned into the series. At the time, he recalls, society at large was seriously engaging in conversations around toxic masculinity and sexual violence as the #MeToo movement gained strength.
“It wasn’t necessarily that I set out going, ‘Oh, I want to make a show about that,’” Gadd says. “It was more that something must have just drifted into my head thinking, ‘You take two men repressed in their current life, repressed in the modern world. And then you go all the way back to their childhood. You contextualize learned behavior; you contextualize trauma and things they learned that make them these repressed adults. And you bring a bit of context to, I suppose, difficult male behavior in the present.’”
As “Baby Reindeer” launched his career as a creator, Gadd put “Half Man” on ice for four years but couldn’t stop thinking about returning to it. “Even as I was coming to the end of ‘Baby Reindeer,’ I thought, ‘I’m really looking forward to getting back to that project,” he recalls. “The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now.’”
Sitting across from the mild-mannered Gadd, the magnitude of his transformation on screen for “Half Man” becomes even more impressive. Gadd comes off as thoughtful and emphatic, while Ruben, his physically imposing character, commands trepidation.
“The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now,’” Gadd says about working on “Half Man.”
(Ian Spanier / For The Times)
Watching Gadd as the rage-fueled Ruben, one might be surprised to learn he originally had no intention of acting in “Half Man.” After wearing multiple hats on “Baby Reindeer,” Gadd thought this time around he could get a purely external bird’s-eye view of a project as showrunner and writer of “Half Man.” But eventually people around him suggested he should be in front of the camera once again.
“My initial response was always, ‘That’s just so far away from anything I’ve done before. It’s so far away from me. Are people going to buy it?’” he recalls. “And behind every single fear-based thought was a worry of what people might think, which in my opinion, isn’t a good enough reason to not do something.”
Convinced audiences would struggle to see the guy from “Baby Reindeer” as this “hard man,” a U.K. term for tough and intimidating men, he had to physically morph. To inhabit a new body, Gadd underwent a strict exercise regimen, and most importantly, a new diet.
“I had a chef make these meals in England, fun enough, and send them up to Scotland where I was filming,” he recalls. “I’d eat them at specific times. You go through periods of fasting and through dehydration whenever you had your top off. There was a real science to it.”
And yet, though he at first worried he wouldn’t look big enough, Gadd refused to portray Ruben with a chiseled physique conceived for mere aesthetics.
“I didn’t want him to have a six pack, I wanted him to feel like a real person,” Gadd says. “Sometimes when you see someone on TV and they’re ripped, I almost don’t think that’s real strength. Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”
Before he agreed to play the character, Gadd auditioned numerous actors for the part, but with all of them he felt they were too focused on his appearance as an imposing figure and not his inner turmoil. “Ruben is extremely sad as a person. He’s terribly broken and traumatized,” he says.
For the series, Gadd bulked up to become more physically imposing: “Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”Richard Gadd in “Half Man.”(Anne Binckebanck / HBO)
When asked if he sees himself as Ruben, Gadd contemplates the question, debating whether it’s his “jetlagged brain” or ambivalence about finding some of Ruben within him.
“Do I see myself in Ruben?” After a pause, he concedes: “All of his behavior is a reaction to a deep traumatic happening in his life. I can relate to finding it extremely difficult to get past big traumatic events and coming to terms with them and coming to terms with yourself even as a result of them.”
With less hesitation, Bell, 40, acknowledges that he finds a certain kinship with his character. As a teenager, Bell flocked to people with a defiant edge. “I grew up without a father in an all-female household and I felt very naked as a child in terms of needing to be protected by someone who was dominant and aggressive,” he says. “I totally understand why Niall seeks solace in someone like him. No one will touch Ruben. There is a safety in that.”
Gadd says he doesn’t think about celebrities when searching for the actors. “I’m quite fame-averse when it comes to casting because I think sometimes it can get in the way,” he explains. “You can have a show, which starts up with all the best intentions, turn into a sort of acting vehicle for someone, or the discussion becomes about the actor doing this role.”
That said, when the casting director on “Half Man” asked him about his “dream cast,” Gadd expressed Bell was the only one who would genuinely excite him. But could that happen? “In my head, I was still in pre-‘Baby Reindeer’ time where I thought, ‘Well, somebody like him is not going to be interested.’ And then I thought, ‘Well, he might be,’” Gadd says.
For his part, Bell found the “nihilism” in Niall, a man desperately running from his true self and living in Ruben’s shadow, an enticing and complex character to play. “[Niall] conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical and thinks that his way is the correct way, and that other people don’t understand that he is terminally unique,” Bell explains with a chuckle.
Bell, who plays Niall, says his character “conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical …”
(Anne Binckebanck / HBO)
Aside from a tight schedule to produce “Half Man,” the challenge for Bell was adjusting to the dramatic intensity that Gadd was after. “I wasn’t particularly prepared for that, therefore sometimes my reading of certain scenes I’d get wrong. We’d start scenes and Richard was like, ‘You are pitching it at like a six, and this is very much an 11,’” Bell recalls laughing. I was like, ‘Oh, OK.’ That took some modulating.”
In Gadd’s mind, Bell remains an “underrated” artist. A proud Scotsman, Gadd recalls loving Bell in the 2007 romantic dramedy “Hallam Foe,” where the British actor played Scottish. For “Half Man,” Gadd thought Bell could convey the pain that haunts Niall, even as his actions paint him less like Ruben’s victim and more like a vengeful participant in the chaos.
“There’s always something I find so vulnerable about Jamie and I knew that I was going to take Niall in some really big journeys where he was going to almost test the audience’s love for him,” Gadd says. That Niall finds Ruben so alluring is natural to Gadd, who believes the notion of a valiant male figure has been bred into everyone via fables and fairy tales.
Gadd adds that whether or not we like to admit it, we’re drawn to alpha male characters. “Because from an early age, we’ve been told they are always at the top of the social hierarchy. And as a result, we’ve always, as a society, answered to those kinds of people as some sort of leaders.”
And though he says he’s unfamiliar with the “manosphere,” the misogynistic and chauvinistic online community, Gadd doesn’t believe Ruben would fall for the gurus in those circles who claim to have the answers for young guys to become “real men.”
“Ruben carved his own masculinity. To give him credit, if that’s even something you can give him, those spaces wouldn’t hold any weight for him. He’s his own man,” Gad says. “He would never follow anyone on social media. He’s the person to be followed.”
Based on the tone of Gadd’s output thus far, it may come as a surprise that as a young person he dreamed of creating a show along the lines of the U.K.’s “The Office,” which he considers a “perfect piece of art.” The stories he is telling now better reflect his “neuroses” and the experiences he’s endured.
“My life just took a very dramatic turn, and my sensibilities weren’t workplace sitcoms anymore. When I grew up and I was doing comedy I thought, ‘I’ll write a sitcom one day and every character will be sort of funny in it,’” he says. “But my life just took a turn to the point where I needed my writing and my art darkened because what I went through was very dark.”
Humor is not entirely absent from “Half Man,” some of the characters’ reactions to their distressing realities earn a chuckle. Still, Gadd’s funny bone might also find an outlet in other people’s narratives. He was recently announced as part of the cast in Apple TV’s upcoming high-concept series “Husbands,” for which he already shot his scenes. Adapted from a bestselling novel of the same name, it stars Juno Temple as a woman who gets to experience life with a different partner every time she changes the light bulb in her attic.
“I’m very picky with stuff I take on. Because I love writing my own work so much, anything that takes me out on someone else’s show has to be very special. And this was very special,” Gadd says.
“Everything I do doesn’t have to be dark,” he adds with a soft smile.
Bill Cassidy’s roles as a lawmaker, a doctor and a political candidate will collide on Wednesday as he questions Health Secretary Robert F. Kennedy Jr. in two high-stakes Senate hearings.
The Louisiana Republican chairs one of the Senate committees that oversees Kennedy’s department and sits on another, giving him two chances to interrogate the secretary about his plans for an agency responsible for public health programs and research. As a doctor, Cassidy has clashed with Kennedy’s anti-vaccine ideas even though he provided crucial support for the health secretary’s nomination last year.
At the same time, Cassidy is fighting for his political future in next month’s primary in Louisiana, where President Trump has endorsed one of his opponents in an unusual attempt to oust a sitting senator from his own party.
How Cassidy handles the hearings could affect his chances at a pivotal moment of his reelection campaign and set the tone for how Congress oversees the nation’s health agenda at a time of rampant distrust and misinformation.
Cassidy hasn’t faced Kennedy in public since September. In the subsequent months, Kennedy has attempted a dramatic rollback of vaccine recommendations that, if not blocked by an ongoing lawsuit, could undermine protections against diseases like flu, hepatitis B and RSV.
After a backlash, Kennedy has also pivoted to spending more time talking about less controversial topics like healthy eating — albeit with his own spin, including sharing exaggerated claims that various ailments can be cured by diet alone.
Cassidy will have to decide on Wednesday whether to grill Kennedy on vaccines, an issue deeply important to him, or put their differences aside and prioritize loyalty to the Trump administration.
“He’s taken a risk showing any sort of resistance to RFK,” said Claire Leavitt, an assistant professor at Smith College who studies congressional oversight. “He may pay an electoral price for that.”
Cassidy has long advocated for vaccines
Cassidy has spent years walking a political tightrope. He’s one of the few Republican senators who voted to convict Trump during an impeachment trial after the Jan. 6, 2021, attack on the U.S. Capitol.
As a liver doctor, he advocated for babies to receive hepatitis B vaccines shortly after birth, a step that could have prevented the disease in his patients. But when Trump nominated Kennedy, a longtime anti-vaccine activist, Cassidy supported him. He did so after securing various commitments, including that Kennedy would work within the current vaccine approval and safety monitoring system and support the childhood vaccine schedule.
The vote for Kennedy did not appear to mollify Trump. The president endorsed U.S. Rep. Julia Letlow, one of Cassidy’s two primary opponents.
Cassidy also faces opposition from Kennedy’s allies in the “Make America Healthy Again” movement, a group that includes both anti-vaccine activists and a wide variety of other crusaders for health and the environment. The MAHA PAC, aligned with Kennedy, has pledged $1 million to Letlow’s campaign. While the organization hasn’t publicly said so, some have questioned whether the support is partly in retaliation against Cassidy for criticizing Kennedy’s vaccine policy agenda.
“I’m not really sure what MAHA’s beef is,” Cassidy told reporters earlier this month. “Let me point out that I am the reason that Robert F. Kennedy is now the secretary of HHS. He would not have gotten there otherwise.”
Cassidy argues that he has “strongly supported” the MAHA agenda, especially when it comes to the fight against ultraprocessed foods. However, the physician-turned-senator acknowledged that he and MAHA have “disagreed on vaccines.”
“We’ve seen, frankly, that I am right,” Cassidy added, pointing to recent measles-related deaths of children who were not vaccinated.
At a hearing in September, he slammed Kennedy’s decision to slash funding for mRNA vaccine development. He interrogated Kennedy over his attempt to replace members of a vaccine committee, suggesting the new members could have conflicts of interest. He also raised concerns that Kennedy’s vaccine policy decisions could be making it harder for Americans to get COVID-19 shots.
Later that month, Cassidy convened a hearing featuring former U.S. Centers for Disease Control and Prevention Director Susan Monarez, who was ousted by Kennedy less than a month into her tenure after they clashed over vaccine policy, and former CDC Chief Medical Officer Debra Houry, who resigned in August citing an erosion of science at the agency.
“I want to work with the president to fulfill his campaign promise to reform the CDC and Make America Healthy Again. The president says radical transparency is the way to do that,” Cassidy said at the time.
Experts say Cassidy’s vaccine stance might not hurt him
Political consultants said they expect Cassidy’s primary opponents, Letlow and Louisiana Treasurer John Fleming, to seize on any sound bites from Wednesday’s hearings that can make Cassidy seem at odds with the Trump administration.
But Dorit Reiss, a vaccine law expert at UC Law San Francisco, said the political risk of advocating for vaccines may not be as strong among Republicans as some people assume.
“He’s probably not alienating voters by focusing on the issue and calling it out,” she said.
Louisiana political consultant Mary-Patricia Wray said she thinks most diehard MAHA voters already know who they are voting for, and it’s probably not Cassidy.
Instead, she said, he may still be able to appeal to Democrats who switch their party registration to vote in the primary, as well as a wide swath of still-undecided Republican voters who care about the same health care affordability issues he advocates for every day in Congress.
“If I was advising Bill Cassidy, I would tell him your goal here is not to get out unscathed,” Wray said. “Your goal is to prove that your consistency on issues regarding public health is an asset in your campaign, not a detriment.”
Election outcome will shape future oversight of HHS
Also at stake if Cassidy doesn’t make it to November’s general election is what will happen to his responsibility to oversee the massive U.S. Department of Health and Human Services as the chair of the Senate Health, Education, Labor and Pensions committee.
Leavitt, the Smith College professor, said seniority typically plays the most important role in who chairs Senate committees. She said another Republican in today’s increasingly hyperpartisan Congress may not be as willing as Cassidy to check Kennedy’s power.
Reiss, the vaccine law expert, said she wishes Cassidy had done more hearings or introduced legislation to rein in Kennedy. And she said the senator bears the blame for allowing Kennedy to bring unfounded vaccine fears into the government in the first place.
“His original sin, of course, was voting for Kennedy at all,” Reiss said.
Swenson writes for the Associated Press. AP writer Sara Cline contributed to this report.
