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A travel journalist who travelled to Italy said they were nearly caught out by a rule introduced in the city of Venice to improve cleanliness

A travel journalist who visited Venice said they nearly lost £86 after breaking a rule they didn’t know about. Joey Handler, a travel journalist, spent six days in Italy travelling around the iconic European country, visiting various popular cities en route.

However, in one of their latest pieces, they admitted they had five regrets from their time in Italy which formed part of a two week trip around Europe.

Reflecting on the trip, back in October 2022, the Joey touched on how at one point in Venice they were stopped by the authorities for doing an act they thought was innocuous.

Joey said the incident occurred after she had completed a walking tour and went for some lunch. Eventually, after passing full restaurant after full restaurant she said she cut her losses and bought an ice cream before deciding to sit down.

However, it was the sitting down that was the problem. The Business Insider journalist explained: “I eventually cut my losses and stood in line for gelato before sitting on a shaded step to enjoy it.

“As I was about to take my first bite, the nearby authorities waved their hands up and down at me — a gesture I could only take to mean ‘get up’. And there I was, committing an etiquette violation that, according to the City of Venice, may result in a fine of 100 to 200 euros.”

As well as being informed by the local authorities about the rule, tourists and others can also be informed by the local government website. On this rule, they said: “Do not consume food and drink sitting on the ground, do not sit or lie down on banks and foundations, monuments, bridges, steps, puteals and high-water walkways

“Fine: 100 to 200 euros DASPO – Urban banning order (offenders will be immediately banned from the place where the offence was committed).”

This means that offenders could be fined anywhere between £86.74 and £173.48 if they’re caught. On why such rules, which include not swimming in the canals, dumping rubbish, walking around in a swimsuit, feeding pigeons and seagulls, not cycling, and not bivouacking in public areas, are in place, the local authority say is to preserve the environment.

They explained: “Current regulations enforced by the Venice City Council Municipal Police forbid certain behaviour, in order to preserve urban cleanliness and landscape, and also for reasons of safety and public hygiene.

“The violation of such regulations involves the application of administrative fines – from €25 to €500.”

This isn’t the only charge people can face if they travel to Venice with tourists als facing an entrance fee which was introduced in 2024 by the city. This fee is around €5 (£4.34) and originally applied on peak days between April and July before being expanded.

However, the new mayor of Venice Simone Venturini, has talked about the possibility of increasing this to €50 (£43.37). He told Corrier della Sera: “If today it ranges from €5 to €10, my proposal is to increase it to €30 to €50.”

Whilst move was in part a reaction to the sheer number of tourists, opponents have warned it risks not being true to the city itself. Former mayor Massimo Cacciari went further and called for the scheme to be removed altogether: “There is no other city in Italy or Europe where you have to enter with a ticket, as though it was a museum.

“It is barbarous, uncivilised and, in my opinion, against the constitution. It is simply obscene. I thought that Venturini would be more intelligent than his predecessor and would scrap the fee.”

In Australian writer-director Adrian Chiarella’s knotty roller coaster of a feature debut “Leviticus,” about a demon tormenting a pair of queer teenage boys, the fear is more insidious than the external threat of a violent bigot or shunning parent.

In an abandoned mill in their blighted industrial town, quiet new kid Naim (Joe Bird) and brash hunk Ryan (Stacy Clausen) allow a friendly, mischievous connection to turn into something more. But when Naim later secretly observes his new crush fiercely locking lips with another classmate, Hunter (Jeremy Blewitt), son of a leader in the tight-knit church that Naim’s single mom (Mia Wasikowska) just joined, hurt gets the better of Naim’s instincts and he secretly informs on the pair.

The church’s punishment, however, delivered in front of the congregants, is an eerie ritual performed by a gaunt, severe visitor (Nicholas Hope). Called a “deliverance healer,” his fire-and-brimstone method — making incarnate the title’s Biblical book, regularly used to justify anti-LGBTQ viewpoints — leave Ryan and Hunter writhing in agony. Afterward, Naim, sensing he might have unwittingly set into motion something awful, notices bizarre behavior in the stricken-looking Ryan. When they try to furtively rekindle their passion, it becomes violently clear they are not alone. Or even, it seems, themselves.

The feeling that nowhere is safe is a durable horror concept, the backbone behind such classics as “Nightmare on Elm Street” and “It Follows.” In “Leviticus,” which is expertly paced by editor Nick Fenton, it comes with a flair for open-space unease and unexpected claustrophobia that puts director Chiarella in a long line of savvy Australian mood-setters like Peter Weir and Fred Schepisi. These filmmakers knew how to fold tactile dread into a worthy narrative, rather than treat genre as if it were a kit with instructions.

But most urgently and bleakly, Chiarella is giving religious-based conversion therapy its devilish due as a warping of the soul designed to sow distrust in one’s own desires. He’s careful, however, not to tell a tale that would speak to homophobes. As distressing as their circumstance is, Naim and Ryan are unmistakably positioned as heroic lovers, not victims-to-be. Chiarella takes time between bouts of danger to show affection and intimacy that, in defiance of teen-slasher formula, isn’t immediately penalized with sadism. But their fraught relationship will decidedly keep you nervous, so score one for multilayered storytelling.

Points, too, for the solid casting, from the leads’ tricky pivoting from openness to caginess, to the criminally underseen Wasikowska, who navigates maternal complexities of worry and compassion that confound easy pigeonholing. If anything, the movie could have used more of her, although it’s better overall that “Leviticus” prioritizes Naim and Ryan as queer protagonists caught in a chilling loop of escape and reunion. We already know what’s out there, ready to do harm. This movie’s nail-biting, sorrowful power comes from what internalized destruction looks like.

TIJUANA — About 150 miles from SoFi Stadium, south of the Mexican border, sits the hotel housing Iran’s World Cup team for its games at the Inglewood venue.

The entrance to the Marriott in Tijuana is barricaded, flanked by police and members of the Mexican National Guard, guns held close. No one enters without a hotel reservation or special pass.

Despite the tensions and challenges surrounding Iran’s participation in the World Cup, early Saturday morning finds the mood inside the four-star hotel relaxed, even jubilant. Several dozen fans mingle and bond over their shared excitement to see the squad’s players before they depart for their second group-stage match at SoFi.

“I wanted to come down to support Iranian soccer, and cheer for them when they exited the building and make them happy,” says Lucas Zarrabi, 13. The teen, who attended Monday’s 2-2 draw with New Zealand and has a ticket for Sunday’s match against Belgium, is one of several fans from Los Angeles who made the drive to stay with the team. Others flew in from San José and even Miami, turning up at the hotel not quite four miles from the U.S. border crossing.

Showing up is important, some said, because of what they describe as unfair conditions imposed on the team. After the outbreak of war, the Iranian team was forced to move its base camp from Tucson to Tijuana. Eleven team officials and staff members did not receive U.S. visas. The Trump administration has also denied Iran’s requests to arrive two days before matches — and mandated that the team must leave immediately after each game.

“Every little technicality is making it difficult for the team,” says Abbas Eftekhari, 65, who was born in Iran and has lived in the U.S. for more than 40 years. “I think this is going to drain them psychologically and also physically.”

Iran’s soccer federation has been vocal about the obstacles, saying it would lodge a complaint with FIFA.

“Football shouldn’t lose its power to politics,” Hedayat Mombeini, secretary-general of the Iran Football Federation, said Friday. He added that the restrictions “are certainly having a negative effect on us, but we are trying to overcome these problems with our Iranian pride.”

Since the team landed on June 7, Ali Eslami has visited the hotel gates nearly every day.

“It’s the best pleasure for me. I wished them the best luck. I told them it’s hard but they’re doing excellent things,” said Eslami, who splits his time between Southern California and Tijuana.

He was there again Friday, waiting for the players to return from afternoon training blocks away at the Estadio Caliente, home to the Liga MX’s Xolos.

“I have been in America for 50 years — this has been the most emotional thing, to see the team that I have not seen in 50 years,” he said.

Some Iran fans fear reprisal from fellow members of the diaspora for supporting the team, insisting they were in Tijuana for the love of soccer and the players, not politics. Eftekhari worries that the mood at Iran’s first match, where fans and protesters clashed, affected the players.

“As soon as they see that their countrymen have slogans against them, it also has a negative psychological effect on them. But, that’s how things are at this time,” Eftekhari says.

Just over 24 hours until Sunday’s noon kickoff, it’s not just Iranian fans contributing to the atmosphere. A group of flight attendants from China staying at the hotel embrace the excitement, donning jester hats and waving scarves colored red, white and green. And soccer fans from Tijuana are eager to show some local hospitality. Iran has diplomatic ties with Mexico, unlike with the U.S., and sought to move its group-stage matches to the country where it has an embassy.

“We love the Mexican people very much, and for us, the best situation is for our games to be held in Mexico,” Abolfazl Pasandideh, the Iranian ambassador to Mexico, said at the time.

Leonardo Ramirez Lopez, a 10-year-old soccer fanatic from Tijuana, clutches his autograph album in hopes he’ll get new signatures.

“It’s a new team that I don’t have experience with how they play,” he says. But Iran is already his third-favorite team, behind Colombia and Argentina.

After more than two hours of waiting, several dozen fans break into cheers as players finally file through the lobby. The squad smiles and waves, stopping for a few autographs. As each player leaves, he kisses a Quran, pressing his forehead against it before boarding the bus to Tijuana’s airport.

“Iran, Iran! Whoop, whoop!” fans cry, breaking into song.

Angueira writes for the Associated Press.

Here’s a bit of Dodgers trivia for the bandwagon fans in our midst: Who was the manager before Dave Roberts?

That was 11 years ago. He is Don Mattingly, who returns to Dodger Stadium on Friday as manager of the Philadelphia Phillies.

The Phillies were 9-19 when they fired Rob Thomson and replaced him with Mattingly. They are 20-8 since then, a better record than the Dodgers have posted over the same span.

In Philadelphia, Mattingly got his chance because the Phillies were losing. In Los Angeles, Mattingly departed amid a run of winning.

For Mark Walter and what was then a new Dodgers ownership group, that was not enough. As Walter enters his first offseason as the Lakers’ controlling owner, it’s worth keeping that in mind.

“They have a hunger for victory that is the greatest I’ve ever seen, without exaggeration,” former Dodgers general manager Ned Colletti told me.

In two seasons with Rob Pelinka as president of basketball operations and JJ Redick as coach, the Lakers won division titles both times, failing to get out of the first round of the playoffs one year and failing to get out of the second round of the playoffs the next.

In 2013 and 2014, with Colletti as GM and Mattingly as manager in the first full seasons of Walter’s ownership, the Dodgers won division titles both times, failing to get out of the first round one year and failing to get out of the second round the other.

The Dodgers replaced Colletti with Andrew Friedman.

In 2015, the Dodgers won the division but failed to get out of the first round of the playoffs. Friedman offered Mattingly a short-term extension, and Mattingly opted for a long-term deal to manage the Miami Marlins.

After Walter and Co. took over the Dodgers, Mattingly told me Wednesday, there was one year he thought he might be fired: 2013, when the Dodgers started 30-42 and fell 9 1/2 games out of first place in mid-June. The Dodgers then reeled off 42 wins in 50 games and won the division by 11 games.

He appreciated that Walter, team president Stan Kasten and eventually Friedman did not simply bring in a new manager at their first chance.

“You get to evaluate and see,” Mattingly said, “and you have your vision for where you want it to go, and sustain it. That’s the thing they’ve been great at: sustaining it. It’s been year after year. You can’t really doubt what they’re doing.”

Kasten’s first move was not to fire Colletti, but to ask what ownership could provide for him so that he could do a better job. The owners quickly responded by funding the addition of impact players (Adrián González and Hanley Ramirez), extending the contract of a popular home-grown player (Andre Ethier), revitalizing the Dodgers’ Latin American talent pipeline (Yasiel Puig and Julio Urías), renovating the clubhouse and, at Mattingly’s suggestion, refreshing the family room.

“We started to be able to compete with a different mindset, which was invaluable,” Colletti said.

Similarly, with Friedman and former Dodgers general manager Farhan Zaidi as consultants, the Lakers have added two positions for assistant general managers, overhauled the scouting staff, created more room at team headquarters by relocating their G League affiliate to the Coachella Valley, and borrowed from the Dodgers’ playbook in modernizing medical and biomechanical facilities.

This summer could be critical in determining the future of the Lakers, including who runs them. Walter can spend all he wants, as he does with the Dodgers, but the luxury-tax penalties in the NBA are more severe than in baseball and could restrict the roster flexibility so coveted by the likes of Friedman and Zaidi. A star-studded roster beyond Luka Doncic — say, a trade for Giannis Antetokounmpo? — could require the Lakers to sacrifice the draft picks that also would limit roster flexibility.

The Lakers will have the resources. Walter will want to see the creativity and the championships — or, at least, the path to them. Ultimately, he will decide what he did with the Dodgers: Does he have the best people he can get running the team?

“You see many organizations that win, and then they take a step back,” Colletti said. “They feel like they have some goodwill in the bank, they don’t have to chase the biggest free agents, and they don’t need to re-invest in the team or the stadium.

“From my vantage point, all the way up and down that organization and especially at the ownership level, it’s almost like they’ve never won, and they’re hungry to get there. To be there and be unsatisfied — that quest to be as great as you can be — is one of the great indicators of the excellent ownership it is.”

In the meantime, any advice for Pelinka and Redick? Colletti let out a hearty laugh.

“Do your best,” he said, “and turn it up a notch.”

As the noise-rap-electro act Jane Remover shrieked and pleaded through a 90-minute marathon set at the Fonda on Thursday night, one very young couple dressed right out of a conservative‘s nightmare — gender-ambiguous, purple hair, facial piercings — tapped me on the shoulder. They politely asked if I could mind their newly bought vinyl for a bit as they thrashed in the heaving crowd. Of course, this unc obliged them.

Anyone who laments that L.A. crowds don’t dance should go to one of the last sets of Jane Remover’s three-night stand at the Fonda this weekend. It had the most genuinely raucous pit I’ve seen in 2026, made all the more feral for how sweet and earnest it was. After a hotly tipped Coachella set, this Live Exhibit tour affirmed that the subculture Jane Remover built may or may not have wider pop potential, but it’s getting big enough to count for stardom in the fractured music world of today.

Jane Remover is a trans polymath producer and singer-songwriter with influences across rave, shoegaze, trap and beyond. They’ve built up a ferocious elaboration on the hyperpop of predecessors like Sophie, who similarly packed so many good ideas into songs they became talismanic to fans, a tonic to reinvent yourself (new Charli XCX opener Underscores is another fellow traveler).

The music itself sounds like reverse-engineering the moment in the 2000s when metalcore kids discovered EDM. Only now it’s Discord-disaffected youth ramping up hardstyle techno, autotuned girlypop ballads and rage-rap to an explosive fusion point. “Census Designated,” Jane’s brash and dramatic 2023 coming-out LP, tipped them as a force beyond the underground. But they soon eclipsed it with 2025’s “Revengeseekerz,” a deliriously overheated mix of romantic yearning, internet score-settling and virtuosic production prowess.

Backed by just a DJ (Dazedgxd, who opened the set) and a retina-scorching light rig up front, Jane acknowledged on Thursday that the stakes were getting much higher. They joked that they’d played the El Rey like three times before this tour, and to judge by the wild-eyed passions out in the audience, the Fonda will probably be the smallest venue they’ll play for some time. “It gets so cold this high up,” Jane sang on “Turn Up or Die.” “Can’t go to hell but I can drop you off.”

The sentiments driving the music are ultramodern: self-aware, vicious and desperately vulnerable. The hilariously zesty “Angels in Camo” (home to the all-time banger of a line: “Jesus never had it with a freak b—”) wrapped up with a bloodletting plea that “I can’t let you b— win.” Jane wields that word like the flaming sword on the “Revengeseekerz” album cover, with all the casual lustiness of Future but also the wrath of a reclaimed slur.

On “Professional Vengeance,” they grappled with the weird lures of celebrity and intimacy, where no one really knows anyone but desire still courses; “Experimental Skin” found them craving and fighting off God and nihilism and technology and addiction all at once.

The tension in these tracks are the binding agent for Jane’s fan base — the music is full of contradictions and incompatibilities smashing together that just feel like being young right now. Other than a quick affirmation that fans of all identities and backgrounds will always be welcome at their shows, they let the contorting, violent music speak for itself about the way queer fans are feeling about life under siege in the United States.

If the set was a bit too long for the limited setup onstage, it was because Jane simply had that much music to let out — that caliber of emotion to unburden, that much want to acknowledge. It seemed like the set was closing with “In the Dark,” an aching ballad from their Venturing side project, plainly declaring “I still dream of us” through a fog of effects. But instead they ramped it back up for one last cathartic blast to close, sending their faithful out onto Hollywood Boulevard, sweaty and filthy and fundamentally known.

IS there anything better than a traditional British seaside summer holiday when the sun shines?

Buckets and spades, Cadbury Flakes jammed into Mr. Whippy ice creams, rounds of seafront mini golf and travelling home with a stick of rock as a souvenir.

But let’s face it – some of our favourite resorts have become built up over the years with flashy neon arcades and attractions.

Over the years, our Travel team have visited seaside towns all over the UK, and a few stick out as traditional favourites that have remained nearly unchanged.

Not only this, but there’s heaps of history to be explored in these historic seaside towns, too.

From one of Britain’s best-preserved Medieval walls lined with gunports and stone towers, to 1950’s-style gelato bars serving up a retro knickerbocker glory, here’s Sun Travel’s favourite seaside towns that feel like stepping back in time.

Broadstairs, Kent

Deputy Travel Editor, Kara Godfrey

The coastline of Broadstairs really does feel like you’re stepping back in time, from the retro huts lining the beach to the vintage merry go round that pops up in summer.

Forget the chaotic arcades and bustle – there’s just a small arcade on the top of the cliff, and most of the busy cafes and bars are further up from the sand.

Of course, expect it to be busy in the peak summer months, but visit in shoulder season and you’ll have most of the beach to yourself.

Morelli’s is an institution and a must – the retro 1950s gelato bar will satisfy that itch for a towering knickerblocker glory.

For the best chippy, The Mermaid is the go-to of locals, while the Charles Dickens’ pub (named after the famous author who once raved about Broadstairs) is the popular spot for a pint.

Personally, my favourite spot is the slightly trendier Bar Ingo, with basque tapas inspired small plates that have led to its multiple awards.

Want to make a weekend of it? Stay at Smith’s Townhouse, a recently opened boutique hotel that has some of the best coffee in town. Rooms from £160 a night. See smithstownhouse.co.uk.

Or opt for the Canterbury Bell by Marston’s Inns, which offers double rooms from £52 per night.

Portreath, Cornwall

Head of Travel, Lisa Minot

The pretty Cornish fishing village of Portreath has escaped the modern makeover of many of its neighbouring coastal resorts.

Its layout is still dictated by its 18th century industrial past with its historic harbour built to ship copper ore to Wales.

You can still walk or cycle the old Great Flat Lode tramways that once carried the minerals.

Set at the bottom of a steep-sided valley, the village is flanked by towering, rugged cliffs that look exactly the same as they did centuries ago.

You won’t find chain stores, amusement arcades or sprawling hotels here, the seafront and village streets are lined with traditional granite cottages alongside independent local cafes like the Pod Cafe overlooking the beach.

There are also a couple of very traditional Cornish pubs including the Portreath Arms and Basset Arms.

The beach is perfect for long walks with the dogs with the Atlantic swells crashing against its shores.

Stay at the Gwel An Mor Resort above the village with a woodland path to the beach.

This lovely resort of eco-chic pine lodges also features a restaurant, indoor pool and spa as well as tennis courts and indoor soft play and adventure course.

Stays start from £167 per night in June. See argyllholidays.com.

If you prefer holiday park breaks, book a stay at Parkdean Resorts’ Crantock Beach.

The beachfront holiday park offers four night stays for four people in a Bronze caravan from £119, or £7.44pp per night.

Great Yarmouth, Norfolk

Travel Reporter, Jenna Stevens

Families have been flocking to the fairgrounds of Great Yarmouth for hundreds of years – and it still very much remains a popular seaside resort today.

Great Yarmouth saw a particularly big boom in holidaymakers in 1844 when the seaside railway opened, which transported visitors from the Midlands straight to the beach.

Today, Brits visit from all across the UK to try out top attractions like the rollercoasters of Pleasure Beach and watch the eye-catching shows of the Hippodrome Circus.

While these modern attractions are absolutely worth visiting, there’s plenty of historical sites here that go under the radar.

You might not expect it, but Great Yarmouth has the second-best preserved medieval town wall in England (following York).

You can still walk alongside the mile-long wall and see its massive flint towers and gunports, a scenic and historic walk away from the busier streets.

For some maritime history, head to The Time and Tide Museum.

Here you can discover the town’s fishing heritage through hands-on family activities and transport back in time to the 1950’s quayside. Adult tickets cost £7.74 and child tickets (aged 4 – 17) cost £6.57.

For somewhere to stay, the Knights Court Hotel has rooms from £90 per night and sits directly on the seafront.

Or go for a stay at the award-winning Seashore Holiday Park, with Haven Hideaway offers from £49 for four people for four nights – which works out to £3.06pp per night.

Aldeburgh, Suffolk

Travel Reporter, Alice Penwill

Counties like Norfolk and Essex are filled with noisy, arcade-filled seaside resorts.

But I recently discovered that those dotted along the Suffolk coastline are very different, especially when I found myself in Aldeburgh on a quiet spring weekend.

The promenade is protected so it means there can be no sellers or souvenir shops on the front, so it still maintains its feel of being a Victorian seaside town.

There’s nothing but towering pastel coloured merchant houses, fisherman’s cottages and of course, its long shingle beach.

The town is consistently referred to as being one of the prettiest (and might I add, poshest) in the country.

Behind Crag Path promenade is where you’ll find classic English bakeries, ice cream parlours, fish and chip shops, and pubs.

I popped into the White Hart, perched on the corner. It’s a small 18th century building filled with wooden furniture and nautical memorabilia – and serves up Adnams on draught – brewed up the road in Southwold.

Make sure to pop into Aldeburgh Fish & Chip Shop across the street too, it’s the oldest in the town and first opened in 1967.

Stay at the Brudenell Hotel right on the seafront from £74.50pp/pn. See
thehotelfolk.co.uk/hotels/brudenell-hotel.

Or opt for a stay at Parkdean Resorts Kessingland Beach, where you can book four nights in a chalet for 2 for £99. That’s £12.38pp per night.

Babbacome, Devon

Travel Reporter, Cyann Fielding

Nestled within the coastline between Dawlish and Torquay, you’ll find Babbacombe – an unspoilt town with heaps of history.

The town dates back to the 16th century when it was a fishing village and much of the original charm can still be seen today.

You can head to Babbacombe Beach, which is made up of shingle and sits below the towering red cliffs that form Babbacombe Downs.

Or you can visit Oddicombe Beach, by the historic funicular which has been operating for a century and travels the 200 metres down to the beach.

If you’re wanting somewhere special to eat, head to Babbacombe Bay Cafe, which serves freshly made toasties with salad.

About a three-minute walk away from the Downs, you’ll reach the high street where you can explore Bygones – a museum with a full-scale replica Victorian street (£13.95 per adult/£9.75 per child).

Another great attraction is Babbacombe Model Village, where you can feel like a giant as you explore hundreds of model scenes depicting British life (£21.95 per adult/£17.95 per child).

As for somewhere to stay, head to the Cary Arms Hotel and Spa where stays start from £195 per night.

There are also four night stays available at Parkdean Resorts Torquay Holiday Park for £99, or £12.38pp per night.

Whitby, Yorkshire

Travel Reporter, Jenna Stevens

Whitby offers everything you’d want in a trip to the seaside: award-winning fish and chips, amusements, tasty ice creams at every corner – but it stands out thanks to its connection to some famous historical figures.

Famous explorer Captain Cook trained for his global voyages in Whitby. Here you can visit the Captain Cook Memorial Museum, known as the House on the Harbour.

Inside, have a nosy around the 17th-century rooms where a 17-year-old James Cook lived as an apprentice in 1746.

Outdoors, you can hop on a Captain Cook boat tour which dives right into the life of the famous voyager, packed with plenty of sea shanties to sing along to.

Horror and literature fans alike will love the town’s connection to Dracula. You can see the grand Gothic ruins of Whitby Abbey from across the harbour, which keeps watch over the town from its creepy clifftop perch.

Author Bram Stoker visited Whitby in 1890 and was struck by the landmark looming over the pretty resort. After reading up on folklore in the local library, the writer penned his famous text.

This town takes its vampire fame seriously. To celebrate 125 years since the novel’s publication, English Heritage broke a Guinness World Record by hosting the world’s largest gathering of vampires, with 1,369 caped fans showing up.

To follow in the count’s footsteps, you can climb the famous 199 stone steps. In the book, a sinister black dog dashes up this staircase to announce Dracula’s arrival.

Luckily, daytime climbs offer gorgeous views of tiered red-roofed cottages rather than scares.

Stay on theme at the nautical Smugglers Rest bed and breakfast from £95 per night.

Or bag yourself a four night stay at Parkdean Resorts Cayton Bay in a Bronze Caravan, which sleeps eight, from £136 – which works out to £4.25pp per night in a full caravan.

Cockington, Torquay

Head of Travel, Lisa Minot

Tucked away in a hidden valley just a mile from the bustling seafront of Torquay, the quintessential Devon village of Cockington is unchanged.

While the English Riviera expanded over the centuries to accommodate the boom in tourism, Cockington has stood frozen in time.

The village is made up of striking 16th and 17th century cottages complete with whitewashed cob walls, timber beams and thick, thatched roofs.

And the reason the village has been unchanged for centuries is Cockington Court, A manor house dating back to the Domesday Book, the estate and country are protected against any development by a registered charity.

Legendary crime writer, Agatha Christie, was a frequent visitor to Cockington Court in her youth and even took part in amateur theatre on the manor house’s lawns.

The village’s narrow lanes wind past three tranquil mill ponds, ancient orchards and wooded walks and to this day, one of the most popular ways to arrive here to get around is via traditional horse drawn carriages.

Quench your thirst at the local pub, The Drum Inn, designed in 1936 by the architect Sir Edwin Lutyens to seamlessly blend in with the ancient surroundings or visit the original Forge, which has been operating on the same site since the 14th century.

Stay at the Hotel Indigo Torquay which sits on the seafront close to Cockington Country Park. Double rooms start at £61 per night in June. See ihg.com.

Book a four night stay at Park Holidays’ Dawlish Sands from £249 total, or £15.56pp per night.

I’ve been intrigued by the Northern California area of Humboldt County ever since the fourth grade. That’s when my teacher told us the story of the Gold Rush town of Eureka: In the 1850s, when prospectors struck gold, they would yell “Eureka!” which is Greek for “I have found it!” What a funny word, I thought.

My curiosity about the area later grew when I learned about its logging renaissance — vast swaths of old-growth redwood forests were felled to make ships and build railroads, both of which were needed to transport this valuable commodity to the rest of the country and beyond. It wasn’t until 1918 with the formation of the Save the Redwoods League that preservation efforts began to try to halt the rapid depletion of the old-growth forests, which, by that point, had dwindled down to between 5% to 10%. From those efforts, Humboldt Redwoods State Park was established in 1921, followed by the formation of Redwoods National Park in 1968. Today the four parks that make up Redwood National and State Parks cover about 139,000 acres of land and protect nearly half of the world’s remaining old-growth redwood forests.

And it was the lure of walking beneath these giants that I, decades past that fourth-grade history lesson, finally decided to make my pilgrimage.

It took this long because, dear reader, Redwood National and State Parks are not easy to get to from L.A.

By car, without accounting for traffic and breaks, it would be at least a 12-hour journey along the 101, through San Francisco, past wine country and bypassing Mendocino before you reach Humboldt County, where the southern end of the parks begin. Realistically, it would take a few days and a couple of overnight stays along the way to get there, which is fine if you’re in it for the road trip; but if you’re like me and only have the weekend, this leaves one option: flying into California Redwood Coast-Humboldt County Airport, a.k.a. Arcata-Eureka Airport (ACV), the only airport that services the area. United has direct flights there from LAX. But Burbank Airport has Breeze Airways offering direct flights three times a week with prices as low as $80 roundtrip.

When I landed at Arcata-Eureka Airport, it felt smaller than some municipal airfields — and just as quiet. That calm set the tone for the rest of the weekend. I walked in peaceful serenity between trees so tall and ancient they recalibrated my sense of time. I discovered that life in Humboldt County, and neighboring Del Norte County near the Oregon border, moves at that same unhurried pace. The fog retreats slowly in the morning. Night arrives gently, carried in on the mist.

And I learned that Humboldt County — including the cities of Eureka, Arcata and Ferdale — is full of treasures beyond its abundance of the Earth’s tallest trees. Whether I was eating a greasy cheeseburger at a family-run diner that becomes the social center of town after 9 p.m. or slurping oysters at a bar that harvested them from its own farm just offshore, it became clear that this place is shaped by discovery, exploitation and preservation. What follows are hikes, sights and bites that should get you started for a weekend full of your own “Eureka!” moments.

California’s political watchdog commission on Thursday finalized a $31,500 fine against Gov. Gavin Newsom, alleging that the Democratic leader failed to report three dozen behested payments totaling $5.5 million mostly to support wildfire recovery by the deadline under state law.

The Political Reform Act requires elected officials to disclose payments of $5,000 or more that they solicit or direct others to give to a charitable, legislative or governmental purpose within 30 days.

The California Fair Political Practices Commission said 34 of the violations were for failing to report on time that Newsom and his staff directed outreach from companies and foundations that wanted to help after the Los Angeles wildfires to the California Fire Foundation. The nonprofit was started in 1987 by the California Professional Firefighters to support the families of fallen firefighters and communities impacted by fire.

The donations include $1 million from the Chuck Lorre Foundation and $500,000 apiece from Lockheed Martin, the Anthem Blue Cross Foundation and BlackRock, among others gifts.

The governor also failed in 2024 to report on time two behested payments, totaling $100,000 from the Schmidt Family Foundation and Schwab Charitable Funds to the Institute for Local Government, a nonprofit within the League of California Cities.

The commission said the governor reported all of the payments “prior to public discovery” or contact from its enforcement division, which it considered a mitigating factor. Newsom also signed the stipulation and agreed to the fine.

Tara Gallegos, a spokesperson for Newsom’s office, said the issue involved late paperwork at a time when the governor’s staff was focused on emergency response and supporting survivors. She also underscored the fact that the reports were filed before he was contact by the FPPC.

Gallegos said the fine is unrelated to an alleged investigation into the governor and his wife by the Department of Justice, which Newsom announced this week.

Newsom alleged Monday that Trump is using the government as political weapon to target him and his wife, Jennifer Siebel Newsom. Newsom announced the investigation after he learned that the FBI and Internal Revenue Service asked his associates questions about nonprofits and businesses related to the couple.

The governor’s office characterized the investigation as a fishing expedition. The Trump administration declined to comment.

A source familiar with the matter, who requested anonymity because they were not authorized to discuss it publicly, said two federal probes have been going on for about a year, and that they originated not from Washington, D.C., but from conversations between whistleblowers and federal prosecutors based in Sacramento. The probes are linked to Newsom’s former chief-of-staff, Dana Williamson, and Siebel Newsom’s taxes, the source said.

The FPPC violations mark the second time Newsom has reported payments late, which increased his penalty for the new infractions. The commission fined Newsom in 2024 for failing to timely report 18 payments totaling $14.4 million.

The classic Chicano film “Zoot Suit” is celebrating its 45th anniversary this year in style.

The Golden Globe-nominated movie, featuring a lead performance by Edward James Olmos, was based on a stage play penned by legendary screenwriter and director Luis Valdez, who drew inspiration from a pamphlet about the 1942 Sleepy Lagoon murder case and the riots that it sparked.

On Thursday it was announced that the flick will be screened at The Ford amphitheater on July 8 to honor its notable benchmark and enduring legacy. The special screening will include a conversation with Valdez, Olmos and actor-educator Cristina Frías, who will discuss the movie’s production, influence and place in the L.A. film canon.

“‘Zoot Suit’ changed the way our stories could be seen on screen,” Olmos said in a statement. “It gave voice to a history that many people had never been taught and showed the beauty, strength and complexity of the Chicano experience. Forty-five years later, the film continues to inspire because it is about more than one moment in time. It is about identity, dignity and the responsibility we have to remember where we come from.”

The screening will also feature a vintage car show put on by the Pachuco Car Club, which will showcase the rides reminiscent of the time period shown in the movie.

In June 1943, L.A. was engulfed in the lawlessness and violence that became known as the Zoot Suit Riots. The name is misleading because it suggests that the zoot suiters — the young Mexican, Black and Filipino men and boys who wore the flamboyant outfits — were the perpetrators.

In fact, they were the victims.

The attacks by servicemen and white Angelenos on zoot suiters, derided as “gamin dandies” in The Times, were driven by prejudice and the anti-immigrant attitudes of the era. The roots of the unrest can be traced to events that occurred more than a year earlier — such as the incarceration of Japanese Americans after Pearl Harbor, as well as the murder of a young man, which was later known as the Sleepy Lagoon murder case.

In his 1981 review of the film, The Times’ former film critic Kevin Thomas praised Valdez’s direction and the strength of the cast.

“Valdez has captured well many of the elements of the era that contributed to the fate of the Sleepy Lagoon defendants — the sensationalist press, the feverish patriotism of wartime and the rampant bigotry directed at all minorities,” Thomas wrote. “At the same time, Valdez makes clear that various people outside the Mexican-American community helped in the struggle to mount an appeal for the Sleepy Lagoon defendants. And he questions the entire validity of the switch-bladed, cynical pachuco mystique as [Daniel Valdez’s] Henry comes to realize that El Pachuco [Olmos] is at once his best friend — and worst enemy.”

The original 1979 Broadway run of the “Zoot Suit” play catapulted Olmos to the national stage and led to him getting a Tony nomination for best featured actor in a play.

“It was a monumental moment in time, and we captured lightning in a bottle,” Olmos told The Times in 2023. “Not only did it change the course of Latinos in theater but it touched the very soul of the culture. It was catching the voice of the pachuco.”

A bill to tighten California’s rules on mental health diversion — a process that allows certain criminal defendants to avoid prison for arrests linked to mental illness — is now on the verge of being signed into law by Gov. Gavin Newsom.

Assembly Bill 46, authored by Stephanie Nguyen (D-Elk Grove), gives judges much wider discretion to decide whether a defendant should be eligible for diversion. Under the current law, judges must presume mental illness was a factor if a defendant with a legitimate diagnosis seeks diversion. In order to defeat a diversion request, the burden is on prosecutors to prove mental health issues were not a factor in the alleged crime.

The new measure — which moved through the state Senate with no opposition last month and is expected to clear the reconciliation process in the Assembly this week — also gives judges more latitude to block diversion if a defendant poses “a risk of danger to public safety,” as opposed to the higher “unreasonable risk” standard that was passed in 2018. Defendants charged with attempted murder will no longer be eligible for diversion under the new bill.

Proponents of more inclusive diversion policies argue that many people with mental health issues are locked up in California prisons and jails, where they are unable to receive the help they need.

The pending bill’s supporters say its changes are designed to address cases like that of Gilberto Guttierrez, a Los Angeles County man who has been accused of attacking his wife four times over the last 12 years.

In 2014, a misdemeanor domestic violence allegation landed Guttierrez on probation. Three years later, Guttierrez was ordered to take anger management classes after prosecutors brought felony domestic violence charges against him. Last February, prosecutors allege, he carried out a “brutal attack” on his wife with a glass bottle, leaving her with “extensive injuries,” according to a motion filed in his current criminal case. That time, the court filings show, Guttierrez threatened to kill her.

Despite objections from prosecutors and L.A. County probation officials, a judge granted a request to give Guttierrez mental health diversion last July.

A month later, prosecutors allege, he beat his wife until she fell into a coma.

When it passed in 2018, the original mental health diversion law was heralded as a needed off-ramp for defendants suffering from serious psychological issues — offering treatment to those who need it rather than a prison cell. But with voters statewide souring on progressive criminal justice reforms, lawmakers have sought to make it harder for defendants to qualify.

“AB 46 preserves diversion as an important pathway to care while ensuring judges have a clearer and more workable standard when serious public safety concerns are present,” Nguyen said in a statement last month.

Under the existing rules, defendants who successfully argue for pretrial mental health diversion spend two years undergoing a court-appointed treatment plan instead of facing a conviction. Prosecutors must prove the defendant is likely to commit a serious violent crime, a so-called “super strike,” again in order to block diversion.

Los Angeles County Dist. Atty. Nathan Hochman, one of many prosecutors statewide who supported Nguyen’s bill, said that has been a nearly impossible standard to overcome.

“Guttierrez being your example: Judge, if you release him, he’s going to probably beat his wife up again, and if he does this time, he could kill her. But for the grace of God, he hasn’t killed her up until now,” Hochman said.

He added that due to the judge’s decision to grant diversion in Guttierrez’s case, “you have three little kids who likely won’t have their mom for the rest of their life.”

A spokesperson for Newsom did not respond to a request for comment about his plans for the legislation.

A 2020 Rand Corporation study found 61% of the nearly 5,500 mentally ill inmates housed in Los Angeles County at that time were “likely appropriate candidates” for diversion.

But a number of troubling incidents have led to pushback against the existing diversion law.

In a letter supporting Nguyen’s bill, the California District Attorneys Assn. rattled off a list of cases in which prosecutors say the law’s shortcomings had deadly consequences. They pointed to a case in Sacramento where a defendant stabbed a 40-year-old man to death after he was granted diversion in a robbery case. In Santa Clara, the letter said, a woman on mental health diversion for carjacking proceeded to steal another car and slam it into an outside table at a restaurant, leaving one person dead and others injured.

Nikhil Ramnaney, a former federal prosecutor who now works as a defense attorney in Southern California, said thousands of people benefit from mental health diversion every year without reoffending and chastised the bill’s supporters for cherry-picking horrible — but rare — cases to muster support for their proposal.

“This is their most effective strategy because it works. Pick up the most visceral, outrageous anecdotes and then repeat them and amplify them as much as possible,” he said. “That’s how we get bad policy.”

Defense attorney Alexandra Kazarian said California politicians are repeating age-old mistakes of trying to arrest their way out of a mental health crisis.

“Without this option, you throw them into prison for a couple of years, they get out, and nothing changes. I’ve seen real change in my clients who have been granted these and who have just been on horrific mental health breaks and who, two years later, fully have their lives together,” she said. “You’re always going to be able to find an outlier. You’re always going to be able to find somebody who ruins what is a great project or program.”

Hochman said the modified mental health diversion law is a “rebalancing” of the scales in California after years of attempts to lower the state’s overcrowded jail populations affected public safety.

“In the end, I’m not looking for pendulum swings,” he said. “I think we did have a pendulum swing when these laws were being passed and people weren’t really discussing, or at least understanding, the public safety impact of laws that seem on their surface to be very — I wouldn’t even use the word ‘progressive,’ but very helpful to people who are suffering.”

In this week’s episode of “The De Los Podcast,” hosts Fidel Martinez and Suzy Exposito sat down with actor Xolo Maridueña to chat about his East L.A. upbringing, the importance of Latino representation in his career and a litany of projects he has in the works.

Born and raised in El Sereno, Maridueña was exposed to the arts at a very young age through local community arts hubs Casa 0101 and the Boyle Heights Art Conservatory, where his mother, Carmelita Ramírez-Sánchez, now serves as executive director.

The 25-year-old actor credited his mom, who also previously worked as a radio DJ for decades in L.A., for encouraging him to explore a creative career.

“She was in the music world at a time when that wasn’t really a thing as a Latina woman,” Maridueña said. “She met so many roadblocks and overcame those that when it came time to for her to eventually raise her own family, she understood the want to try something that was outside of what the education system would deem successful. As a Latina, she also instilled these values of remaining curious, questioning certain traditions and the ways our experiences are affected by some systems that are larger than ourselves.”

He also touched on what it was like being the first Latino lead in a live-action superhero film in “Blue Beetle” — and the importance of continued Latino representation in Hollywood.

Xolo Maridueña is featured on “The De Los Podcast.”

(L.A. Times Studios)

“It was such a wild ride doing something like ‘Blue Beetle,’ that was the first in a lot of categories… But once the movie came out, it was so heartwarming to see that there were already like 10 other Latino superheroes that were making their debuts on the screen,” Maridueña said. “[Filming the movie] was the first time I had witnessed some much of the crew being Latino, or just being diverse — there were a lot of women and queer folks on that set.”

Having worked on hit series like “Parenthood” and the Netflix phenomenon “Cobra Kai” in addition to his theatrical roles, Maridueña wants to help provide an avenue for fellow Latino artists to succeed.

“I just hope [that] with this body of work, I can help open the door and prop it open for everyone else,” he said.

The conversation with Maridueña wrapped with him discussing the litany of projects he has coming out in the near future, including a leading role in the film “Dog Years” alongside Xochitl Gomez, a part in the Al Pacino-led movie “Killing Castro” and a spot in the upcoming season of Netflix’s live-action adaptation of “One Piece.”

He will also feature alongside Sandra Bullock and Nicole Kidman in the upcoming sequel to the witchy 1998 film “Practical Magic,” which is set for release Sept. 11.

“It’s been a blessing to expand not only the types of people I’ve gotten to work with, but [also] the genres and types of characters I’ve gotten to bring on to the screen,” said Maridueña. “Projects like ‘One Piece’ are so wonderful for the reach and then movies like ‘Dog Years’ and ‘Killing Castro’ are just as fulfilling in the sense that because they get to be smaller productions, the cast and crew have a bit more ownership of what they’re doing.”

Floyd Mayweather Jr.’s Christmas Day purchase of an exclusive Audemars Piguet watch has landed the billionaire boxer in court facing two felony charges alleging theft and intent to defraud, according to Clark County, Nev., court records.

Mayweather wrote a check for $200,000 to Las Vegas high-end consignment store Gold and Beyond for the timepiece on Dec. 25, 2024. Prosecutors filed a criminal complaint on April 27 of this year and the court ordered Mayweather to appear before a judge. His lawyer did so at a preliminary hearing Monday.

The charges are theft with a value of $100,000 or greater and passing a check of $1,200 or greater with intent to defraud. Mayweather did so “knowing that the check would not be paid when presented,” according to the complaint.

Mayweather, 49, could face a prison term of one to 20 years and $15,000 in fines if found guilty of felony theft. The fraud charge carries a sentence of one to four years in prison and a $5,000 fine plus restitution.

Audemars Piguet, which has operated in the quaint Swiss village of Le Brassus for 150 years, is considered a more luxurious and prestigious brand than Rolex, belonging to the “Holy Trinity” of Swiss watchmaking alongside Patek Philippe and Vacheron Constantin.

Luxury watch expert Prestige Time explains why a watch enthusiast would become enamored by the brand: “Buy an Audemars Piguet if you enjoy complications, the kind you find in a really high-end mechanical watch. We’re talking about tourbillons, perpetual calendars, moon phase, retrograde, minute repeaters, chronographs, dual time zone/GMT’s, and more mechanical features that offer more function than just to tell you the time.”

Now the man nicknamed “Money” is on the clock to resolve a high-dollar dispute that could result in a criminal conviction. Mayweather’s next court appearance is Sept. 17. Meanwhile, lawyers representing both sides made their cases in court filings and to the judge.

Mayweather has had a longstanding business relationship with Gold and Beyond, his attorney Adrian Lobo told ESPN in a statement on Tuesday night. Lobo appeared perturbed that the shop’s owner brought the claim to the Clark County District Attorney instead of filing a civil suit.

“This matter does not belong in the criminal courts,” Lobo wrote in the statement. “And Mr. Mayweather looks forward to being vindicated through the court proceedings.”

Gold and Beyond attorney Marc Cook said his client exhibited patience with Mayweather, giving him ample time to pay for the watch. The complaint was filed with the Clark County District Attorney’s office in February.

“The reason for the delay is that my guy trusted Mayweather and was trying to give him every opportunity to make good on that,” Cook said in a statement to ESPN. “And it got to the point where he wasn’t getting responses and wasn’t getting money for a watch that Mayweather had for well over a year.”

Given Mayweather’s reported wealth, bouncing a check might seem perplexing. He is considered the richest boxer of all time, with roughly $1.1 billion in career earnings and an estimated net worth of $400 million.

He owns three of the top-five largest payouts in boxing history, making $275 million for an exhibition with UFC fighter Conor McGregor in 2017, $250 million for the “Fight of the Century” against Manny Pacquiao in 2025, and a then-record $80 million payout for a bout with Canelo Alvarez in 2013.

Mayweather, whose career record is 50-0, reportedly has increased his net worth since last fighting nine years ago. He represents some of the world’s top boxers through Mayweather Promotions and owns roughly 75 gyms around the country along with real estate holdings.

However, Mayweather is reportedly beset by financial woes as well. He filed a $340 million lawsuit against former broadcast partner Showtime, alleging the television network concealed and diverted his earnings. Also pending is a $175 million lawsuit against former associates, claiming they defrauded him and misappropriated his funds, jewelry, and private jet.

Mayweather is scheduled to face kickboxer Mike Zambidis in a full-contact exhibition June 27 in Athens, Greece, and a rematch with Pacquiao is set for September in Las Vegas. However, an exhibition against Mike Tyson scheduled for last April was canceled because Mayweather was notified by the IRS that it intended to revoke his passport over a delinquent tax debt of $7.3 million, according to Ring Magazine.

Diversity in last year’s streaming films followed the same downward trend as theatrical releases, a new study found, with the percentage of people of color directing, writing and leading films diminishing.

In past years, streaming was considered a more accessible outlet for early-career female or BIPOC filmmakers, which was reflected in data about gender and racial representation. According to Part 2 of UCLA’s 2026 Hollywood Diversity Report, which was released Wednesday and analyzed all of the original English-language films distributed on major streaming platforms in 2025, that trend reversed across every category studied.

The share of streaming films directed by women declined to just over 23%, the lowest it’s been since 2022, when the annual study began analyzing streaming and theatrical films separately. Among those female directors, an overwhelming majority (81%) were allotted budgets below $20 million, while more than a quarter of the films directed by white men exceeded $50 million.

Only about 31% of streaming films last year had BIPOC directors, down 10% since 2024, when the proportion more closely reflected U.S. demographics.

“This is an industry in flux — and in reverse, especially when it comes to diversification,” Darnell Hunt, UCLA’s executive vice chancellor and provost and the report’s co-founder, said in a statement.

“Unfortunately, as we’ve seen with theatrical films, we’re now seeing the impact of this current political climate in very meaningful and concrete ways,” he continued. “As budgets tighten, opportunities for filmmakers of underrepresented backgrounds are always the first to be squeezed out.”

Despite losing ground behind the scenes and in front of the camera, women and people of color continued to drive streaming viewership in 2025, the report found.

The year’s biggest streaming hit, “KPop Demon Hunters,” was also the most-watched original Netflix film of all time, and according to Neilsen ratings, it was most streamed by women in Latinx households, followed by women in Asian and Black households. The report acknowledged the film as a “bright spot” in a disappointing year for diversity.

Michael Tran, a sociologist who co-authored the report, noted that the film’s impact and earnings potential could have been even greater with a theatrical release.

“It was a missed opportunity for theaters,” Tran said. “We’ve tracked how diverse films tend to succeed at the box office, here and abroad. For ‘KPop Demon Hunters,’ we could have been talking about record-breaking box office receipts in addition to topping the ratings.”

When “KPop Demon Hunters” did briefly screen in theaters — for two days last August, with over 1,750 locations domestically and more than 1,150 sold-out screenings — it was the No. 1 movie that weekend, earning about $18 million in ticket sales (though Netflix does not report exact box office figures).

Data from the report also indicated that streaming films with at least somewhat diverse casts tended to outperform in terms of audience and social media engagement.

However, overall cast diversity in streaming films declined in 2025. For the first time since 2022, films with a majority-BIPOC cast did not represent the plurality of streaming titles. Most notably, the percentage of lead actors of color dropped from a high of 51% in 2024 to 36% in 2025.

Report authors called it an “industry-wide chilling effect” reminiscent of a similar decline in diversity among theatrical films in 2024. That said, streaming films continued to star BIPOC leads more often than their theatrical counterparts, the study found.

The overall number of streaming films also declined. While the annual UCLA report typically examines the top 100 original, English-language movies across streaming platforms, this time, there were only 89 for researchers to analyze.

In addition to studying race and gender demographics in the film industry, the report also examined on-camera representations of disability. According to the study, while adults with a disability make up at least 26% of the U.S. population, actors with a known disability represented 6.5% of total streaming movie actors, which is in line with the previous year.

According to the study’s authors, streamers hoping to compete in a fast-paced, globalized market should increase their diversity efforts in light of these results.

“Kids under 18 are already majority BIPOC. There’s no going back if a studio wants to be profitable and relevant to Gen Z and Gen Alpha,” said report co-founder and co-author Ana-Christina Ramón. “Severing all brand loyalty now will only make it more difficult to regain long-term subscribers in the future.”

Unprecedented sports feats and historical firsts are usually joyous affairs. Something to celebrate, fun trivia to tuck away for later.

On Monday in Inglewood, the history was much more fraught, and not at all trivial.

Iran’s national soccer team played on American soil — this time on SoFi Stadium’s natural turf — for the first time in 26 years. And for the first time, a country hosted a World Cup participant with which it is mired in an on-again, off-again war.

There was, in the days and hours leading up to the match, protest and pushback from portions of the large, local Iranian diaspora who didn’t think it was possible to support the country’s football team without supporting the oppressive regime.

But inside SoFi Stadium, thousands of L.A.’s Iranian supporters gave the team its full-throated support. So did many new Mexican fans who’ve adopted Team Melli, which has been staying and training in Tijuana between matches as it was barred from the United States except for game days.

Most of the near-sellout crowd of 70,108 were there cheering Iran, helping propel this team under so much pressure to an entertaining 2-2 tie with New Zealand.

And there, among the thousands of enthusiastic Iran supporters swept up in the match, was my son’s favorite soccer coach, Narbé Mansourian, with his son, 13-year-old Daniel.

Narbé’s brother got his hands on a pair of nosebleed tickets and immediately handed them over to his soccer-loving relatives.

And Narbé — a fifth- and sixth-grade social studies teacher in Hollywood — had no qualms about backing these Iranian men. There were no second thoughts about separating the players from the politics in the country with the complicated geopolitical — and personal — history.

Now, know this: Mansourian is no fan of Iran’s Islamic regime. He was 7 in 1983 when his father, a political dissident, was executed in Evin Prison, nine months after he’d been apprehended.

Narbé remembers visiting his dad, Vazgen, at the notorious prison. He remembers the long drive to get there, the long wait to see him and the game he and his mom used to play: “Today you are 4 years old.”

Narbé Mansourian, right, and his son Daniel before Monday’s World Cup match between Iran and New Zealand at SoFi Stadium.

(Mirjam Swanson / Los Angeles Times)

What started as a way to avoid paying bus fares for 6-year-old Narbé became the way to fool guards at prison, where only the small children were allowed to physically touch their imprisoned loved ones.

He remembers being allowed behind the glass, where he’d wait for his dad to emerge, blind-folded.

When his dad was killed at 37, Narbé said his mother didn’t immediately find out. And when she did, she initially told Narbé that he’d been sick. There was no funeral and when they went to visit his father’s grave, they found a dirt field. There were no markers, Narbé recalls.

He has kept Vazgen’s Coke-bottle glasses, his watch and the still-intact little LEGO house they built together before his dad was taken to prison.

Narbé has held onto so many difficult memories, including the nighttime terrors associated with bombings during the Iran-Iraq war. But there are also happier recollections. Like the stories he would make up about good guys going against the greedy. And, yes, memories of going to soccer games with his dad.

So, “absolutely, I’m going to root for the Iranian national team,” Narbé said before Monday’s match, saying that, to him, equating the Iranian national team with the country’s regime is like rooting against the Knicks because you don’t like President Donald Trump, a native New Yorker.

“It’s not like a cartoon good guy, bad guy,” Narbé said. “There’s so much gray. Because they live there. My heart goes out to them. It can’t be easy, to kind of teeter-totter like that.”

A pre-revolutionary Iranian flag is displayed before the World Cup group stage match between Iran and New Zealand at SoFi Stadium.

(Allen J. Schaben / Los Angeles Times)

I should’ve expected this outstanding youth soccer coach would be most concerned with the players on the pitch.

Some fans got into SoFi on Monday with the Iranian Lion and Sun flag, a historic Iranian national and opposition flag that was banned from the stadium because FIFA desires to steer free of politics (unless it’s steering straight into them). It was a strange sight in Los Angeles, seeing stadium workers asking attendees to discard flags in an effort to censor the expression of people here.

Some of those fans turned their backs during the national anthem, which many in the stands jeered at its start. But then, once the game took hold, so did the support.

“There were many Iranians here,” Iran coach Amir Ghalenoei said through an interpreter. “They believe in different political affiliations, different beliefs, but they all wholeheartedly encouraged us, and I think that’s a victory for all of us.”

It’s Friday afternoon in North Hollywood and Ziggy Marley is perched on a stool inside his newly built Rebel Lion Studio, tucked in one of the neighborhood’s creative enclaves.

The nine-time Grammy winner is surrounded by a collection of lion figurines, guitars, traditional hand drums and a piano. Along the walls hang two replicas of backdrops his legendary father, Bob Marley, used on tour in the 1970s. The murals, depicting Rastafari icons and Haile Selassie I and Marcus Garvey, were featured in the 2024 biopic “Bob Marley: One Love.”

“These are what we used as the backdrop for the concert scenes. Them spiritual to me,” Marley says in patois as the smell of palo santo dances around the rehearsal space.

Music has been both an inheritance and lifelong pursuit for Marley. From sitting in studio sessions with his father as a child to building a five-decade career of his own, he has remained a curious student of the craft, one willing to challenge convention in search of a deeper meaning. That spirit is evident on “Brightside,” his ninth solo album, which was released on vinyl on April 18 (Record Store Day) and May 1 on streaming.

Rather than recording the eight-track project in 440 Hz, the standard tuning frequency for most modern music, he opted for 432 Hz, a tuning some musicians and theorists believe creates a warmer, more meditative listening experience. He also slowed down his songwriting process, giving each lyric room to carry its message of hope through turbulent times. The album, which may be his most personal yet, also features “Many Mourn for Bob,” the first song he has written directly about his late father.

“I think it shows the next stage that I probably am in,” says Marley, adding that he felt connected to his father on a spiritual level. “We took another step in the relationship, to another place that it’s never been before.”

Ziggy Marley is bringing his “Brightside” tour to the Hollywood Bowl on June 21 alongside reggae star Burning Spear.

(Dania Maxwell / For The Times)

He adds, “When I was doing the song, it kind of came to me like this song could’ve been my father’s song. It could’ve been a song that he wrote.”

The reflective nature of “Brightside” arrives at another pivotal time in Marley’s career. This year marks the 20th anniversary of “Love Is My Religion,” the Grammy-winning album that launched his solo career and crystallized a personal philosophy he still carries today. He is also set to release his sixth children’s book, “True to Myself,” in September.

As we wrap up our conversation, Marley has only a few minutes before Rebel Lion Studio shifts back into work mode. Within minutes, bandmates, background singers and production crew members begin funneling into the space, hauling in stacks of equipment as promotion and preparations continue the “Brightside” tour, which stops at the Hollywood Bowl on June 21.

This interview has been lightly edited for length and clarity.

You recorded your latest album, “Brightside,” here at Rebel Lion Studio, which you designed and built from the ground up. Can you take me back to the beginning of that process and why you wanted to do it?

I grew up around my father and my mother as growing musicians trying to succeed and there was one thing I kept hearing over and over throughout my life: independence. Their whole mission was to be independent. I saw them work and I saw my father build a studio. I saw him have a space where he can do more music and control his own time. That was a dream of mine for a long time, ever since I started doing music because usually we use other people’s studios. I couldn’t have this in my house. It’s too much. It’s a dream come true.

We’re surrounded by two beautiful murals. Is there a particular item that is personal to you?

The murals are replicas of my father’s backdrops that they used. The original artwork is by Neville Garrick, but he helped us re-create them for the Bob Marley movie. These are the murals we used as the backdrop for the concert scenes. They are spiritual to me cause that’s Haile Selassie and Marcus Garvey, two very important beings for us. Inspirational.

On “Brightside,” Ziggy Marley dedicated a song to his father, Bob Marley, for the first time in his career.

(Dania Maxwell / For The Times)

“Brightside” is your ninth solo album. What mindset were you in emotionally and spiritually when you started working on it?

I never thought about making an album, I was just writing songs. You just tap into things in your subconscious that are waiting to become music, I feel like. Then when the time comes for writing songs, the time comes. It’s like a season. Like you have blueberry or orange season. So there’s a season for me when I write songs. Then you say, “All right, let’s make an album then.” But you don’t think about an album before. It’s just an expression or a feeling just to make music, not for any reason but to make it. It happened over a period of years. Ideas and experiences that eventually come out. But closer to the time I [made] the album, I remember writing some of the later songs like “Why Let the World.” It was a song that I wrote because I was feeling down and everything that was happening in the world and the country. Just so much negativity and I just felt like I needed to take a break from it. To recharge yourself. We cannot fight every day. We need to take a break and then get back to it. I needed to teach myself to take some time. It was more of a mental thing than an emotional thing. Stuff I deal with my father, personal life and stuff with my spirituality and my faith. So there’s a lot of me in this record.

“Many Mourn for Bob” is the first song you’ve explicitly written about your father. Your brother, Stephen, is also on the vocals. What surprised you emotionally once that song was finished?

I’m not sure I thought about it like that. The experience of expressing that emotion, it’s a spiritual experience. I think it shows the next stage that I probably am in and even my relationship with my father on that spiritual level. It’s a different place. We took another step in the relationship, to another place that it’s never been before. When I was doing the song, it kind of came to me like this song could’ve been my father’s song. It could’ve been a song that he wrote. That’s how I felt about it. This is partly his song. It’s me and him making this song. This song is his song too.

How has your relationship with grief changed over the years?

It’s more of a comrade, understanding, empathy and having the maturity and the experience to understand what he went through as a man, as a human being. I think that’s what it is, really. A better understanding of what he went through, not the glory. The pain, the mental and emotional state. You’re more than just an idol. You’re more than just a legend. You’re more than just a father. To go deeper than that, so that’s the next level.

Yeah, the skit you used of him saying “I’m just a man from the ghetto” on the song really summarizes that.

That’s the real him. That’s him right there. Even in the tone of his voice, you can hear the real Robert coming out.

Another standout song from the album is “Racism Is a Killa.” One thing that you do well is having a heavy topic, but finding a way to still make it feel hopeful and joyful. Why was it important for you to approach the track this way rather than from a place of anger, heaviness or sounding preachy?

I think it started out preachy and angry, but over time, it kind of evolved and I kind of evolved too ‘cause my own evolution is represented in the music. And you know something, doing that song helped me evolve because I had to think about it differently without the anger. The song made me do that. Like how else can I approach this? It’s inspiration that causes these things. It’s not an intellectual thing. I didn’t do that intellectually. Like over time, something just started coming out of me. I never really thought about it before, but I can see it now.

In the video, which features your daughter, Zuri, you referred to the condition as “Racismosis” in the video and sang about how it can be cured.

It’s kind of like a sickness, a disease. It’s a virus. We can minimize the virus and stop the disease. It’s true. Racism is a killa. This virus can kill ya. Literally kill ya. Spirtually kill ya. Emotionally kill ya. Mentally kill ya. It kill ya in different ways. It kills the victim and it kills the person perpetrating it. It’s killing everyone, but we can cure it though. It starts with the children. I have a friend of mine who said, “Yo, my little son loves this song. He doesn’t want to stop. He says ‘Put on “Racism is a Killa.”’ So that’s where the antidote is starting. The minds of the children. The music with a conscious message gives them the right consciousness that they grow up with. That is how we take our time and lower the spread of the virus.

You recently released an alternate version for “Racism Is a Killa” with Big Boi. How did that collaboration come together and what excited you about working with him?

I’ve loved Big Boi and Outkast from a long time ago. He’s a legend and a strong voice. There’s different layers to it and I feel like Big Boi took it to that other layer. So yeah, we just love Big Boi and I’m going to jump on something he does. [Laughs]

I’d be remiss if I didn’t ask your approach for your album and how you swapped the typical 440 Hz for 432 Hz. Do you remember the first time you heard the music played back that way?

It’s a long journey because for most of my life in music, I’ve tried to be a student. I’ve tried to keep an open mind and learn more and more. With this album, there’s an inspirational side of music and that’s where I lean into most of the time, but as I grew up, I started to understand there’s also a science too. It’s also mathematics. The universe, it’s all mathematics and science, and I shouldn’t shun the science of music just because I think the inspiration is all it should be. I think a part of that was learning that for myself and opening up and saying, “Yo, let me put some science into this.” Frequency. What does frequency do to people? Frequency affects people. Frequency is a weapon. It’s a tool. I’m sure the army has some kind of frequency thing. So frequency is powerful. I wanted to try something different anyway. I want to be different. I want my frequency to be different from the majority of frequencies that’s being played out there, because it’s fun for me to be different.

When I was working on the demos, I was like “Let me try this 432 Hz thing” and I like how it feels for me personally, how I sing on the frequencies. It resonates differently and makes me feel different. We did it and it felt good, and we did it live, and from my point of view, I felt a different energy with the audience too. So all of those experiments led me to the final conclusion to say, “Yeah, let me do the record in 432.” It’s really nice vibes, which the world needs a different frequency. We can use it.

This year marks the 20th anniversary of “Love Is My Religion,” your first solo Grammy-winning album. When you think back to that era of your life, who was Ziggy back then?

A lot was changing because I moved to L.A. during that time.

You got married around that time too, right?

Yeah. I don’t really fight change. I just try to navigate them and figure them out cause sometimes change is hard. There was a lot of change living here, moving around, trying to find a place, music, but then it’s like we are continuously updating ourselves. I’m continually updating. You know how you update your OS. I’m updating my OS. My operating system is being updated throughout my experience in life. There’s always something else out there for me to evolve to. So during that period of my life, “Love Is My Religion” came to me when someone asked me, “What religion are you?” And I just said “Love is my religion.” I never thought about it before, never contemplated it, never even thought of those words together before in my life, and they just came out to me that day. So the album represents a time in my life when I realized there’s a spiritual awakening that I had. “Love Is My Religion” is a spiritual awakening. That’s my thing. That’s who I am. That’s why it’s a milestone.

“If you think you’re going to change this world with music and you’re trying to send a message out there, you have to speak to children,” Ziggy Marley says.

(Dania Maxwell / For The Times)

You’re kicking off the “Brightside” tour this month, which includes a stop at the Hollywood Bowl. What are you most excited about when it comes to bringing this album to people for the first time live?

I’m excited about playing the music. I think it’s about the music. These new songs, they vibrate very highly for me and I’m excited about experiencing and expressing that. And also kind of not doing it for the audience. I don’t want to do it for the audience. I want the audience to experience what I’m experiencing, what I’m expressing. I want them to feel me. I don’t want them to be like “Hey look at me.” [Laughs] There’s still connectivity going on, but I want them to feel the songs the real way. That’s what I’m excited about for people to feel it the way that I feel it.

You even posted the lyrics and told fans to get to practicing, so they can really understand the message.

Yeah. Just reading them for me, I really like the writing I did on this. I also took some time with this too. I was saying to someone that I developed a deeper relationship with the lyrics and the words than I did before. My relationship with the words here are very mature. I feel good about it. That’s why I want people to know the words because words are very important. Words are very important. If you know the words you get a deeper understanding of what I’m talking about and what I’m feeling.

After nearly 50 years of making music, Ziggy Marley built his own studio in North Hollywood called Rebel Lion Studio. He plans to turn it into a multipurpose creative space.

(Dania Maxwell / For The Times)

Look on the bright side is a phrase that people say often, but what do those words mean to you right now?

Sometimes we can get in a place [where] we can’t see the other side of things because we’re so caught up in that one place. Like the cliché, there’s two sides to a story, ya know? The universe is always yin and yang, but there’s always another side of things. But I feel like the way we are being programmed in a way through media and everything, it’s like there’s only one side. Everything is like this, there’s nothing else going on over there that we need to see, we only need to see this. This is all that’s going on in the world. There’s nothing good, there’s nothing nice, there’s no good people, there’s no love. So it’s a realization too. A realization that there’s the other side. Never get to that place where we think it’s just that side alone because we get so much of it. It’s a reminder, I think, for us like “Come on guys.” The thing about it too, sometimes you can feel like — even for me — some people say, “Hey look on the bright side,” some people find that like “Why are you happy? Why you so chirpy?” [Laughs]

That’s true.

I’m proud that I’m on the bright side. I’m living on the bright side, I don’t care. You don’t like me because I’m living on the bright side? You want me to be like you, you want me just live on the dark side with you, right? So it’s like a proudness of being positive and having that outlook in life, and not feeling like you have to [fall to] peer pressure. More positivity in life, not just the negativity. I’m confident in that too. So it’s kind of like that too, you know, like being proud, lifting up that side of me. Yeah, I’m happy to be living on the bright side.

Whenever Shohei Ohtani is questioned, it seems, he does something spectacular.

On Tuesday, with discussion still swirling over whether his knee problem from the week before would influence his two-way availability when he took the mound Wednesday, Ohtani broke open a scoreless standoff with a sixth-inning solo home run.

It held as the winning run, and the Dodgers went on to beat the Tampa Bay Rays 1-0.

“That’s just him,” Dodgers starting pitcher Justin Wrobleski said of Ohtani. “He’s obviously the best player of all time. I’m super lucky and blessed to be his teammate and watch him play. It’s been super cool.”

Up to that point, neither team’s starting pitcher had flinched.

Wrobleski had given up just three hits in six scoreless innings. And, along with five strikeouts, he hadn’t had more than one baserunner in any inning, squashing the scrappy Rays’ ability to manufacture a run.

Though the Dodgers had made more viable scoring threats against Rays starter Drew Rasmussen, they’d come up short for five innings.

They came within a couple of feet of scoring in the second inning, but the Rays pulled off a trick play to throw out Kyle Tucker at home.

Rays catcher Nick Fortes tags out Kyle Tucker trying to score in the second inning.

(Eric Thayer / Los Angeles Times)

With runners on first and third, Alex Freeland laid down a bunt to Rasmussen. When he fielded it cleanly, Tucker shuffled back toward third base. But then Rasmussen turned and fired toward second base, and Tucker took off. Rays shortstop Taylor Ward cut off the throw in front of the base and cut down Tucker as he slid headfirst for the plate.

For the next three innings, the Dodgers (47-27) failed to reach base.

Then Ohtani happened.

Leading off the sixth inning, Ohtani pounced on a cutter that drifted toward the heart of the plate.

He launched it to straightaway center field, where it bounced on the netting beyond the fence.

Rasmussen lasted through the seventh inning, leaving that home run as the only blemish on his outing. Then the two bullpens duked it out to a draw in the late innings.

Justin Wrobleski pitched six scoreless innings.

(Eric Thayer / Los Angeles Times)

Ohtani’s home run stood alone.

It was his fifth home run in nine games, bringing his season total to 14.

After a slow start, by his standards, Ohtani lamented his lack of power. Now, with the second-highest on-base-plus-slugging percentage in the National League (.966), just barely trailing the Washington Nationals’ James Wood (.967), Ohtani has that going for him too.

“He was hitting the ball hard, some doubles, singles,” manager Dave Roberts said. “And if he was just missing a little bit [before], there was going to be slug. So that’s what’s happening. Seeing the baseball well. Swinging at good pitches. And when he uses the big part of the field, there’s just no one better.”

The home run Tuesday, however, was not enough to claim a spot in the batting order Wednesday. Not in an extra-early 12:10 p.m. game. Not just days removed from a bout of inflammation in his left knee.

Before the game, Ohtani threw off a mound to test his knee before his scheduled pitching start the next day. It went well enough that he’ll be taking the mound, Roberts confirmed Tuesday night. But he will not be hitting.

Roberts will keep a close eye on Ohtani, who left the game last Thursday with a swollen knee and then sat out Friday. Ohtani theorized over the weekend that issues with his pitching mechanics may have aggravated his knee.

Said Roberts: “He wouldn’t start if we felt that we were going to put him in harm’s way.”

Glasnow hopes to begin throwing soon

In retrospect, it’s clear to right-hander Tyler Glasnow that he tried to start throwing a little too quickly after back spasms pulled him out of his start against the Houston Astros on May 6. But at the time of the injury, Glasnow, who is no stranger to back problems, was encouraged.

“It didn’t feel as bad when I first did it,” Glasnow told The Times on Tuesday.

Nearly a month and a half later, Glasnow has twice tried to restart throwing, and twice he’s had to shut it down.

“Frustrating, for sure,” Glasnow said. “Just because it happens so frequently. A lot of times I just want to find a way to address the underlying issues of why it happens.”

He has yet to find that long-term solution, but he does not expect to have surgery.

Glasnow, encouraged by his recent improvement, expects to start throwing again “soon.”

“We’re just waiting for it to be fully, fully healed,” he said.

Edman activated

As expected, the Dodgers activated Tommy Edman (right ankle surgery) off the injured list Tuesday and designated utility man Santiago Espinal for assignment.

Edman didn’t make his season debut, but Roberts said he’ll play a mixture of second base, third and left field, with his playing time dictated by factors such as pitcher matchups and the availability of left fielder Teoscar Hernández’s (strained left hamstring), who’s still on the IL.

Federal prosecutors announced charges Tuesday against 15 people who are accused of impeding federal agents during the Trump administration’s massive immigration surge in Minnesota earlier this year.

The investigation targeted two “Minneapolis-based antifa groups” whose members were trained in “surveillance, operational planning and rapid mobilization against law enforcement,” Minnesota U.S. Atty. Daniel N. Rosen said at a press conference.

The charges come as the Trump administration has escalated its attacks on “antifa,” an umbrella term for a diffuse movement of militant left-wing activists, which President Trump has described as a domestic terror group.

Rosen said some of those arrested identified as “antifa” while deploying a range of tactics to disrupt the immigration crackdown, such as “stalking” federal agents and using blocks of ice to slow their convoys. He declined to say whether any federal agents were injured as a result of their actions.

“Whether or not they actually, at the end of the day, cause bodily harm is not the measure of whether or not they committed a serious federal crime,” Rosen told reporters.

Twelve people were arrested Tuesday, two remain at large and one is already in custody, Rosen added. The names and specific charges of those arrested were not immediately available.

The charges come months after the administration’s “Operation Metro Surge” brought thousands of federal agents to the Twin Cities, setting off mass protests and leading to the fatal shooting of two U.S. citizens.

During the surge, convoys of agents in unmarked SUVs traveled through neighborhoods, at times banging down doors, waiting outside schools and demanding residents produce proof of citizenship.

Primarily organized through anonymous neighborhood messaging threads, a sprawling network of outraged Minnesotans quickly formed, with ordinary citizens and activists using whistles and car horns to call attention to the masked, heavily armed agents.

At the time, border czar Tom Homan indicated that federal authorities were probing “the organization and funding of the attacks on ICE.”

“They’ll be held accountable,” Homan said. “Justice is coming.”

Last September, Trump signed an order classifying antifa as a domestic terror organization and directing federal agencies to “investigate, disrupt, and dismantle” its affiliates and funders.

Democrats and several First Amendment groups have raised issue with the designation. While the federal government may designate foreign terror groups, there is no formal mechanism to apply the same label to domestic groups.

Trump has long invoked the term against a range of political opponents, including peaceful protesters without anarchist leanings.

Offenhartz writes for The Associated Press.

Sean “Diddy” Combs is expected to be released from federal prison earlier than expected in 2028.

The disgraced music and alcohol mogul, 56, is now set to be released from FCI Fort Dix, a low-security federal prison in New Jersey, on Feb. 23, 2028, according to the Federal Bureau of Prisons inmate database. Combs was sentenced in October 2025 to 50 months in prison after he was convicted of transporting prostitutes across state lines for drug-fueled sex performances known as “freak-offs.”

The updated release date shaves off even more prison time for Combs, who was initially projected to be freed in June 2028. Earlier this year, the producer’s release date was moved up to April 2028.

A legal representative for Combs did not immediately respond to a request for comment Tuesday. People reported that Combs is participating in a drug-abuse rehabilitation program in the federal prison. The outlet also reported that the musician’s legal team preferred Combs carry out his sentence at FCI Fort Dix because of its treatment program and proximity to his family.

Combs was sentenced last year after a lengthy and highly public legal saga involving damning allegations of sexual assault and other violence. Singer Casandra “Cassie” Ventura and producer Rodney “Lil Rod” Jones were among the accusers who lodged civil complaints against Combs. Though he was found guilty in July on two counts of a prostitution-related charge, jurors cleared Combs on racketeering and sex trafficking.

“Mr. Combs has been given his life by this jury,” defense attorney Marc Agnifilo said at the time.

Earlier this month, the Los Angeles County district attorney’s office said it was investigating two sexual assault cases against the Bad Boy Records founder. A Florida music producer alleged last year that Combs sexually assaulted him in 2020 and 2021. When the claims first surfaced in 2025, Combs’ civil attorney dismissed them.

“Let me make it absolutely clear, Mr. Combs categorically denies as false and defamatory all claims that he sexually abused anyone,” attorney Jonathan Davis said at the time. “He looks forward to vindicating himself in court, where such matters are decided — and not in the media — based on admissible, material evidence, not rank speculation and unsubstantiated allegations.”

Times staff writers James Queally and Richard Winton contributed to this report.

Minecraft fans can enjoy an immersive pop-up event during the school summer holidays that includes the chance to meet baby Mobs and other characters from the popular video game universe

Alton Towers will launch a pop-up event for the six-week summer holidays where guests can enjoy an immersive Minecraft experience, including meeting adorable all-new Baby Mobs.

Announcing the new arrivals with a Buckingham Palace-style sign, the theme park has promised fans the chance to “meet baby Minecraft Mobs in real life across the park” in a first-of-its-kind event. Minecraft Meet the Mobs will take place between July 18 and August 28, coinciding with the school holidays in England and Wales.

Character appearances will include the Iron Golem, Chicken Jockey and Creeper, plus baby Mob scenes featuring yellow axolotls, pandas, pigs, goats, chicks and wolf pups.

The baby Mobs will be positioned in six Minecraft-inspired scenes across Alton Towers, and as visitors find each one, they can stamp their game card. Those who complete the trail will unlock an exclusive downloadable in-game reward – only available to visitors who’ve been to the theme park.

According to Alton Towers, Mobs “are living creatures in the Minecraft videogames that move, interact with the environment and can be passive, neutral, or hostile.”

In addition to the Minecraft trails, visitors can enjoy themed snack stands featuring Minecraft-inspired TNT popcorn and ice lollies. There will also be a range of exclusive Minecraft merchandise to purchase in the park.

Minecraft fans can book tickets for Alton Towers online now for summer dates, and the Meet the Mobs experience is included with the regular price of admission for all visitors from July 18 to August 28.

Minecraft is one of the best-selling video games of all time, with 350 million copies sold, a number only beaten by the addictive puzzle game Tetris. Its first formal release was in 2011 for the PC, and since then, it has been released on a number of consoles and mobile platforms. A version for the Nintendo Switch 2 was recently announced, with many fans speculating it could be released by the end of 2026.

Howard Ebison, vice president at Alton Towers Resort, said in a statement: “Minecraft is loved by families around the world, and this summer we’re bringing that sense of play and discovery into our park. ‘Minecraft Meet the Mobs’ is set to delight our guests with interactive moments across the park, an opportunity to unlock exclusive in-game rewards, enjoy themed treats and plenty of surprises along the way.

“We are proud to offer this unique Minecraft event for our guests joining us over the summer, all within the price of admission to Alton Towers Resort.”

Recently, the Staffordshire-based theme park opened brand new Bluey the Ride: Here Come the Grannies!, the world’s first rollercoaster based on the much-loved cartoon pup and her family. It’s also home to CBeebies Land, where kids can enjoy rides and experiences based on Hey Duggee, JoJo and Gran Gran, Go Jetters, and the Octonauts.

Have a story you want to share? Email us at webtravel@reachplc.com

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

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

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

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

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

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

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

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

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

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

Summer, and all the vacation days and potential travel that implies, is upon us. And whether flying internationally or taking time off at home, you can’t beat a good British crime drama as the ultimate self-soother (especially in summer when the U.K.’s inevitable drizzly city streets and windswept moors can provide at least visual relief from the heat). The genre is varied, the casts inevitably fine and justice almost always prevails. So here are 15 shows, new and old, to watch. (And if that’s not enough, you can find 15 more here.)

‘Young Sherlock’ (Prime Video)

Will we ever tire of reimagining Sherlock Holmes? Not anytime soon, apparently. Created by Matthew Parkhill and developed by Guy Ritchie (who directed two episodes), this version gives us a college-aged Sherlock (Hero Fiennes Tiffin) banished to the role of Oxford University porter by his fed-up older brother, Mycroft (Max Irons), who hopes to put the arrogant young rip on a steadier path. Alas, before you can say “Sir Bucephalus Hodge” (the Oxford bigwig played by Colin Firth), young Sherlock is up to his flat cap in murder and mystery, which he is determined to solve with the aid of his new best bud — wait for it — James Moriarty (Dónal Finn). An over-the-top romp that proves, if nothing else, the near-miraculous elasticity of Arthur Conan Doyle’s iconic creation.

Mark Gatiss stars as Gabriel Book in “Bookish.”

(PBS)

‘Bookish’ (PBS)

Speaking of Holmes, “Sherlock” co-creator and co-star Mark Gatiss is up to it again, this time in the leading role. In post-World War II London, Gabriel Book (Gatiss) runs a secondhand bookshop, above which he and his beloved wife, Trottie (Polly Walker), live. But all is not what it seems, as Jack (Connor Finch), the young orphan ex-con they take under their wing, soon discovers. Gabriel apparently did something so important during the war that he is now the neighborhood’s go-to crime solver (with a letter from Winston Churchill to ensure VIP access). He also has a personal stake in Jack’s reclamation, which gives the series a fascinating and pathos-filled LGBTQ-history subtext.

Rishi Nair as Alphy Kottaram, left, and Robson Green as Geordie Keating in the 11th and final season of “Grantchester.”

(PBS)

‘Grantchester’ (PBS)

The sacred meets the secular in this long-running pairing of a young vicar with a worldly police detective in the titular idyllic Cambridgeshire village during the 1950s and ‘60s. In Seasons 1-4, that vicar is Sidney Chambers (James Norton), a jazz enthusiast plagued by memories of WWII who offers unsolicited insights to gruff and initially ungrateful Det. Inspector Geordie Keating (Robson Green). Friendship inevitably blooms, and when Sidney leaves the scene (and Norton the series) at the end of Season 4, many hearts (including Geordie’s) are broken. But subsequent replacement vicars — Will Davenport (Tom Brittney) in Seasons 5-9 and Alphy Kotteram (Rishi Nair) in Seasons 9-11 — each find their way to Geordie’s side, bringing their own charms, detectival insights and personal woes. The final season premieres June 14.

‘Touching Evil’ (BritBox)

DI Dave Creegan (a young Robson Green) is brought in to help DI Susan Taylor (an even younger Nicola Walker) of the Organized and Serial Crime Unit solve a series of abductions that Creegan comes to believe have been committed by a serial killer. The relationship sticks and the pair goes on to track down all manner of nasty killers with a combination of unconventional techniques and good police work. Green’s Creegan gets top billing, and a deeply resonant personal story, but seeing Walker (who would go on to star in so many fine series, including the terrific crime dramas “River” and “Unforgotten”) play a finely tuned second fiddle is great fun too.

‘Karen Pirie’ (BritBox)

For fans of Scottish crime drama (see also “Case Histories,” “Shetland” and “Dept. Q”), Det. Inspector Karen Pirie (“Outlander’s” Lauren Lyle) is a refreshing historic cases hero. Smart, ambitious and dogged, she is not burdened by a dark past or traumatic pain or the generally dour outlook that plague so many of her peers. Based on the books of Val McDermid, the series is set on the Scottish peninsula of Fife (the first season involves the picturesque town of St. Andrews) and all the gloriously broody scenery that implies. Murder mystery plus vicarious international mini-break.

‘Sister Boniface Mysteries’ (BritBox)

This cheeky spinoff of the iconic “Father Brown” puts a sweet-faced Catholic nun (Lorna Watson) at the center of all manner of murder in the fictional 1960s Cotswolds town of Great Slaughter. Sister Boniface is, of course, not just any nun. Having served as a codebreaker at Bletchley Park during WWII before entering the convent, she holds a PhD in chemistry, which makes her the perfect, if most unlikely, forensic specialist. (She also rides a red Vespa and serves as the convent’s vintner.) Unflappably brilliant and sincere in her vocation, she proves that faith in action can be both serious and great fun to watch.

‘The Bletchley Circle’ (BritBox)

Like Sister Boniface, Susan Grey (Anna Maxwell Martin) served her country as a codebreaker, but she is finding post-WWII life a bit more, well, boring. Forced back into the traditional roles of wife and mother, Susan tries to make do until a series of murders suggests to her a pattern unnoticed by the police. Gathering her former and still formidable colleagues who are also languishing in a sexist world, she creates, for two marvelous seasons, her own private crime unit. (See also, the one-season spinoff, “The Bletchley Circle: San Francisco.”)

‘Sherwood’ (BritBox)

When truculent Gary Jackson (Alun Armstrong) is murdered by an arrow outside his home in Nottinghamshire, near Sherwood Forest, Det. Chief Supt. Ian St. Clair (David Morrissey) is quick to put down any Robin Hood references and look instead at the town’s 30-year-old but still roiling divisions over the U.K.’s 1984-85 miners’ strike. Based on real events, “Sherwood” is both a murder mystery and a contemplation of the damage done by class-based strife and longheld grudges, often based on misinformation. With an incredible cast, including Lesley Manville, Kevin Doyle and Lorraine Ashbourne, it is deeply moving drama that illuminates the personal price of social divisions. Season 3 premieres this year.

Lesley Manville as Susan Ryeland and Timothy McMullan as Atticus Pund in “Magpie Murders.”

(Nick Wall / Eleventh Hour Films / PBS)

‘Magpie Murders’ (PBS)

Season 3 of “Magpie Murders” — titled ”Marble Hall Murders” — is also set to bow this year, so now is a good time to catch up on the previous adaptations of Anthony Horowitz’s Susan Ryeland novels, which both satirize and honor the murder-mystery genre. Ryeland (Lesley Manville) is a book editor whose most famous — and tiresome — author, Alan Conway (Conleth Hill), has just turned in his final murder mystery called “Magpie Murders.” Only the last chapter is missing and Conway has just been found dead at his country home. So it’s up to Ryeland, working with Conway’s literary detective Atticus Pünd (Tim McMullan), to figure out what happened, both in real life and in the book. This mystery-within-a-mystery launches two vivid characters, Ryeland and Pünd, working separately and together to solve crimes, sometimes in two different timelines.

Bill Nighy as headmaster Alan Lockwood, from left, Sharon Small as Det. Sgt. Barbara Havers and Nathaniel Parker as Det. Inspector Thomas Lynley in “The Inspector Lynley Mysteries.”

(Alex Bailey / BBC)

‘The Inspector Lynley Mysteries’ (BritBox)

The many, and voluminous, novels of Elizabeth George are being adapted in “Lynley,” a new series that has its charms. Still, I’m sticking with the older version, which ran from 2001 to 2008. Over six seasons, the unlikely partnership of Det. Inspector Thomas Lynley, eighth earl of Asherton and generally natty guy played by Nathaniel Parker, and his distinctly working-class and perpetually disheveled sergeant, Barbara Havers (Sharon Small), creates a classic odd-couple mix that allows some actual insight into issues of class and gender. But mostly, they make a great detective team, often using their differences to their advantage. The mysteries range far and wide over the U.K., from gritty streets to posh country homes, and 24 90-minute episodes are enough to keep you going all summer long.

Derek Jacobi in the title role of “Cadfael” in 1995.

(ITV)

‘Cadfael’ (BritBox)

Though the oldest series on this list (1994-1998), “Cadfael,” based on the books of Ellis Peters, remains a classic and constant recommendation. The great Derek Jacobi plays the titular 12th century monk who was once a soldier of the Crusades. Now a botanist and apothecary, Cadfael aids the local sheriff in solving all manner of crimes committed in and near Shrewsbury Abbey during England’s 15-year civil war known now as the Anarchy. Though the series does not delve as deeply into the politics of the time as the novels do, it creates an uncertain world in which violence runs rampant. Mercifully, there is a monk who knows his stuff, and if Jacobi isn’t enough reason to watch, the costumes and landscape are pretty great too.

‘No Offence’ (BritBox)

Joanna Scanlan was punk rock long before her turn in “Riot Women,” especially as the wildly frank, slightly raunchy, take-no-prisoners DI Viv Deering in this blackly funny depiction of the wayward Friday Street division of the Manchester Police. They are not misfits exactly — Deering knows what she’s doing as does her team, including the ambitious Det. Constable Dinah Kowalski (Elaine Cassidy), the self-doubting Det. Sgt. Joy Freers (Alexandra Roach) and Paul Ritter’s wise-cracking Randolph Miller (OK, maybe he is a misfit) — but they are much more recognizably human than most TV coppers. We know they’ll get their man, but it will take some time, and more than a few hilarious and heartbreaking misfires.

‘Inspector George Gently’ (Acorn TV)

After the murder of his wife, Inspector George Gently (Martin Shaw) leaves London’s Metropolitan police force in search of a more peaceful life in 1960s Northumberland. But as anyone who has seen “Vera” could tell him, Newcastle Upon Tyne is far from peaceful. Still brokenhearted, Gently finds himself solving crimes, and trying to teach his sergeant John Bacchus (Lee Ingleby) to be an honorable man in a time of shifting social mores and political upset.

‘Whitechapel’ (Hulu)

Come for the Jack the Ripper overtones, stay for the always great character actor Phil Davis (“Trying,” “Vera Drake”). He plays old-school Det. Sgt. Ray Miles, a member of an East End squad that is less than thrilled by their new guy, opposite the smooth and ambitious Det. Inspector Joseph Chandler (Rupert Penry-Jones), who shows up to his first crime scene in a tux and doesn’t appear to understand that this is the East End. But with what seems like a Ripper copycat on the loose, everyone needs to put aside their preconceived notions and figure out what’s going on. The series is wildly atmospheric with plenty of gallows humor and more than a few truly loopy plotlines, but great fun with Davis managing, as ever, to sell even the most preposterous scene.

James Norton as Henry Alveston, from left, Matthew Rhys as Darcy and Matthew Goode as Wickham in “Death Comes to Pemberley.”

(Robert Viglasky / PBS)

Death Comes to Pemberley (PBS)

This adaptation of P.D. James’ sequel to “Pride and Prejudice” is a miniseries, and just three episodes long, so this might be a bit of a cheat. But if you haven’t seen it, you should. Elizabeth Darcy (nee Bennet) (Anna Maxwell Martin) and Fitzwilliam Darcy (Matthew Rhys) are happily married and planning a ball. Sure, a couple of servants see a ghost in the woods (where Elizabeth encounters a suspicious woman), and Col. Fitzwilliam (Tom Ward) clearly wants to marry Georgiana (Eleanor Tomlinson), who doesn’t seem too keen, but what of it? Then Elizabeth’s sister Lydia (Jenna Coleman) shows up uninvited and hysterical; her still-caddish husband, George Wickham (Matthew Goode), had an argument with his friend Capt. Denny (Tom Canton), and the two vanished into the woods where shots were subsequently heard. Once again, Mr. Darcy must do what he can to protect the dreaded Wickham, and in doing so all manner of secrets are revealed. Jane Austen meets Agatha Christie with a cast either writer would kill for.

TONOPAH, Nev. — Some years ago, Harry Chahal and his wife were on a trip to Las Vegas when, like countless motorists before and since, they passed through this high desert speck of a town.

Tonopah, built by the mining industry around 1900 and depleted as the gold, silver, lead and mercury waned, is a remote way station about halfway between Reno and Las Vegas. Signs on either side warn — ominously, given the unforgiving expanse ahead — that once you’ve left, the nearest gas station is not for another 100 miles or so.

Harry Chahal opened hometown pizza in 2015 after driving through town and seeing there was no pizza place.

(Mark Z. Barabak / Los Angeles Times)

As he passed through town, Chahal noticed something missing: a pizza parlor.

Pizza is not generally associated with Punjab, India, where Chahal — given name Harvarinderjit — is originally from. But he learned how to make pizza, and how much customers loved gobbling it up, while working at different gas station mini-marts around rural Nevada.

In that absence, Chahal saw opportunity.

He and his wife, Ravinder, moved to Tonopah and in 2015 opened Hometown Pizza in a vacant building on U.S. Route 95, which runs through the heart of town. Ten years later, they bought the Dream Inn Motel, a 39-room operation just up the road.

Views of the 47th president, from the ground up

Lately, Chahal has been sprucing up the motor inn: new cabinets, new furniture, fresh paint every few months. The reason is President Trump.

Tonopah and the surrounding desert, stretching farther than the eye can reckon, is verging on a boom, owing to vast reserves of lithium, boron and other sought-after materials and a Trump administration promise to turn the U.S., in the words of Interior Secretary Doug Burgum, into “a mineral powerhouse once again.”

Chahal, 40, is a repeat Trump voter and even though he has issues with some of what the president has done — he’s not happy about the war with Iran and inflation has taken a decent-sized bite out of his pizza business — he feels his faith in Republicans in general and Trump in particular have paid off.

A registered nonpartisan, Chahal is fairly apolitical. “I vote for Republicans because they’re better for business,” he said as a lunch-time crowd of locals and folks passing through tucked into the $11.99 pizza-and-salad buffet. Here’s proof: In the last year, Chahal said, he’s seen motel occupancy increase significantly, from around 15 rooms rented each night to 25 or more.

Those fresh touches to the Dream Inn are Chahal’s investment in the future and a belief that, with Trump in office, even better times lie ahead.

Tonopah was built as a mining town around 1900. It’s fortunes have waxed and mostly waned.

(Mel Melcon / Los Angeles Times)

::

For much of its being, Tonopah relied on metal, minerals and other valuables scooped from the earth. Today, government is the largest employer.

But mining continues to hold fast to the town’s imagination.

A headframe — that’s the tower built directly over an underground mine shaft — is part of Tonopah’s logo. Mining-related sculptures, including statues of Jim and Belle Butler, who staked the first claim in the 20th century silver rush, dot the main thoroughfare. The high school’s athletes are called the “Muckers,” after those who shovel ore into underground rail cars.

The Tonopah Historic Mining Park is a big tourist attraction, along with the Clown Motel and other lodging establishments supposedly haunted by the ghosts of dead miners and other paranormal phenomena. (Chahal says there are no apparitions at the Dream Inn.)

The Clown Motel, which draws visitors from around the world, is said to be haunted by the ghosts of dead miners.

(Christopher Reynolds / Los Angeles Times)

Lately, however, mining is becoming more than just a part of nostalgic lore. It’s poised to again be a major boon to the local economy and the town’s 3,000 residents.

Plans are underway for a new lithium and boron mine at Rhyolite Ridge, approximately 30 miles southwest of Tonopah, in Nevada’s Silver Peak Range. (Lithium, most of which is now imported, is a vital ingredient in the batteries that store solar energy and power electric vehicles; boron is used, among other things, for bulletproof armor and vests.)

About 27 miles to the south of Tonopah, near the town of Goldfield, a new gold mine is set to open in 2028.

Joe Westerlund, Tonopah’s town manager, said fresh development and the prospect of hundreds of new, good-paying jobs are much welcomed. The median income here is about $37,000 annually, less than half the state average. The hospital in town closed in 2015. Venture off U.S. 95 and the rolling hills are flecked with weathered miner’s cottages and tumbledown homes no longer fit for habitation.

(A three-bedroom, two-bath home in a comfy subdivision on the north end of town can be had for around $250,000, but don’t hurry over to buy; inventory is low and could grow even leaner if demand for housing increases.)

The Tonopah Historic Mining Park is a big local tourist attraction.

(Mark Z. Barabak / Los Angeles Times)

While some of the groundwork for the mining resurgence was laid during the Biden administration, Trump is credited with fostering a much friendlier regulatory environment, which promises even more opportunities for extraction.

“As soon as he got into office, things started loosening up. We had 15 drill rigs,” said Westerlund, who has lived in Tonopah since 1972. “I had never seen that before in my life.”

There are, of course, environmental concerns — about pollution, water supply, native habitat — but those worries haven’t gained much of a toehold. Nye County, which is home to Tonopah, isn’t exactly tree-hugger country — and not just because most of the land is scrub-filled desert. Trump carried Nye County all three times he ran, with landslide support ranging from 68% to 70%.

“This is a pro-Trump town,” Westerlund said, “and I feel like his policies are doing good for the town.”

Chahal stands ready to cash in, knowing firsthand what economic good times feel like.

The Mizpah hotel, opened in 1908, offers the plushest accommodations in town.

(Chris Erskine / Los Angeles Times)

When he moved here in 2014, he and his wife were forced to stay in a motel for six months because workers finishing up a $1 billion solar energy project were taking up most of the living space. That’s the kind of extended-stay guest he’s after, not the tourists bedding at the Mizpah Hotel, the plushest resort in town, with its cut-glass chandeliers, Victorian furnishings and photo gallery of celebrities who’ve stayed the night.

“If I can rent 25 rooms a night, maybe 15 can be for the long term” of several weeks at a time, Chahal said. He’s done the math — $82 a night for a queen bed, single occupancy; $89 for a king — and likes how it pencils out.

::

Chahal came to the U.S. in 2006, after marrying Ravinder, who grew up in the Sacramento area. She had family in Punjab and was a regular visitor to India. The two met when they were 10 years old. Chahal became an American citizen in 2020.

Politically, Indian Americans lean heavily toward the Democratic Party. But in the tiny Nevada communities where the couple lived — Lovelock, Battle Mountain and Ely before Tonopah — there was little or no Indian American presence. So Chahal wasn’t acculturated into the party the way many others have been. Rather, he embraced the GOP gospel of lower taxes and less regulation.

Working seven days a week, Chahal has little time these days for politics, beyond voting. He isn’t particularly ideological or, for that matter, worshipful of Trump.

“Every coin has a head and a tail,” he said, flipping his wrist as though tossing a quarter in the air. He sees two sides to the president. “Maybe you’re angry for some things,” Chahal said. “Maybe you agree with some things.”

He supports the notion of tariffs as a way of bringing manufacturing jobs back to the U.S. He also laments that the pizza boxes he uses, which are made in China, once cost him 30 cents and now run almost 67 cents apiece.

He backs Trump’s promise to round up and deport violent criminals who are in the country illegally. But he’s also mindful of the important role immigrants play, especially in areas like farming and construction, in sustaining the U.S. economy.

Chahal criticized the heavy-handed enforcement that resulted in the killing of two protesters in Minnesota. But he blamed their deaths on overzealous ICE agents, not Trump.

Living in a town greatly shaped by outside forces — the fluctuation of commodity prices, the changing of presidential administrations, the shifting priorities emanating from Washington — Chahal is familiar with vicissitudes and the business cycles of boom and bust.

Not everything Trump has done has helped the mining industry.

His tariffs and inflation have greatly increased construction costs. Cuts to the federal workforce have slowed the oversight and approval processes. His hostility toward green energy has dampened the market for electric vehicles and made solar energy considerably less attractive.

But based on the talk around town, Chahal believes a more prosperous future is in the offing. He certainly hopes so, and he’s counting on the president to deliver.

If the Constitution allowed for a third term, Chahal said, he wouldn’t hesitate voting for Trump again.