time

EXCLUSIVE: on his latest TV travelogue Michael Palin is in the Phillippines, but he draws the line at one recycled food type in a poverty stricken area and spoke to the Mirror about his experiences.

Michael Palin says he had to turn down a food dish in the Phillippines as it was a “bridge too far” for him. The former Monty Python star, 83, normally tries lots of the local cuisine on his travelogues.

But in new Channel 5 series Michael Palin In The Philippines he was surprised by one thing on the menu known as Pagpag. Michael was told that it was recycled chicken which they took after people ate it.

He explains in the programme: “I’ve never seen anything that illustrates poverty quite as clearly as half-eaten fried chicken, which has been taken from the bins of fast food restaurants and then re-cooked. So this is ultimate food recycling. Food that’s already been on someone’s plate has been left behind, and this nice lady goes and collects it. Seeing this, I’m starting to understand why so many people are angry about the inequalities here.”

Speaking to the Mirror about his experiences in the Philippines, Michael admitted he was intrigued by the snack, but not enough to try it.

He said: “It was a bridge too far for me, certainly. Yeah. But it was interesting. The lady who was selling it again, she wasn’t conning anybody. She wasn’t a gangster or something like that showing off. She was a middle-aged woman. She was obviously a pillar of the community. People trusted her, and she’d been recycling these food for years and years, and no one seems to have died.

“I’ve eaten everything on my journeys, but I couldn’t eat recycled food. I’m afraid at that time of the day.”

The food was for sale in an area of poverty called Tondo and on the morning he was there Michael learned that the seller and friends had gone to fast food outlets the night before.

He added: “Any meat that had been thrown away, they brought it back, scraped it off the bone, cleaned it all up, and reboiled it, so everything was sort of officially hygienic, and then sold it the next the next day as little sort of delicacies.”

Elsewhere on his trip Michael gets up to all sorts of other adventures, including travelling through underground rivers and swimming with thousands of sardines in Moalboal.

Under military escort, Michael explores the extraordinary and haunting remains of the destroyed city of Marawi, and on the island of Jolo he meets a member of the terrorist group, Abu Sayyaf.

He said the trip, filmed last year when he was still 82, made him feel young at heart and told the Mirror: “When I actually did the Philippines show. There’s no special sort of conditions because of my age or something like that. I just did it like I used to travel, and it’s extraordinary how your body or your mind can help your body to carry on. And physically, I didn’t feel the strain of the Philippines journey until I came home, and it was a long flight, 16 and a half hours to get to Manila from London, and that’s what really wears you out. It’s the airports and the long flights.

“Time in the Philippines was rejuvenating. I felt great, you know. And I thought to myself, I’ll check on my passport that I really am 82.”

* Michael Palin in the Philippines – starts Monday, September 28 at 9pm, Watch|stream on 5.

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SEATTLE — Logan Gilbert struck out eight in four no-hit innings and five Seattle pitchers combined for 12 strikeouts as the Mariners beat the Angels 7-3 in the regular-season finale for both teams.

The Angels finish 2026 with a record of 62-100, the first 100 loss season in franchise history. It was a 10-game slide for the Angels, who had a 72-90 record in 2025.

Gilbert retired the first 12 batters he faced and, after walking Moisés Ballesteros at the start of the fifth inning, was lifted and left to a standing ovation from the Mariners fans.

The Mariners took a 1-0 lead in the second inning when Weston Wilson drove in Cole Young with a grounder to third base.

Seattle scored two more runs in the third on Cal Raleigh’s RBI single off Angels starter Yusei Kikuchi, and Dominic Canzone scored on a groundout by Josh Naylor to make it 3-0.

Kikuchi (1-7) gave up three runs and six hits over five innings, with one walk and seven strikeouts.

Bryce Teodosio scored for the Angels on a sacrifice fly in the top of the sixth inning, but the Mariners responded with three in the bottom half when Young scored on an Angels throwing error and Randy Arozarena drove in two with a double to make it 6-1.

Jose Siri hit a two-run homer for the Angels in the eighth, and Leo Rivas scored for the Mariners in the bottom half on a wild pitch.

Cooper Criswell pitched the ninth for the Mariners. Eduard Bazardo (4-4) got the win.

After finishing the 2025 season with a 90-72 record and advancing to the seventh game of the ALCS against Toronto, the Mariners missed the playoffs with a disappointing 76-86 record this season. Despite that mark, the Mariners drew 2,883,798 fans in 2026, the team’s highest total since 2004.

LAFC, mired in a slump having won just two of its last 13 games in all competition, fired first-year coach Marc Dos Santos on Sunday with six matches left in the MLS regular season.

The firing, announced in a three-paragraph statement, comes less than 24 hours after Saturday’s 1-0 loss to FC Dallas dropped the team to sixth in the Western Conference table.

“Marc has given a great deal to this club over the years, and we are grateful for his commitment, care and contributions to LAFC,” said John Thorrington, the team’s president of soccer operations, in the release. “We wish Marc and his family all the best moving forward.”

LAFC (11-9-8) said it will begin the search for a new manager immediately but didn’t say who would coach the team in its next game on Oct. 10, after the two-week FIFA international break.

Dos Santos, 49, was an assistant on Bob Bradley’s staff in LAFC’s inaugural season in 2018. He left after the season to take over the Vancouver Whitecaps but struggled to a 22-39-20 record in 2 ½ years that were heavily affected by the COVID-19 pandemic, which forced the team to play many of its games on the road.

Dos Santos returned to LAFC as an assistant in 2022, this time for Steve Cherundolo, helping the team to a Supporters’ Shield and MLS Cup. When Cherundolo stepped down after last season, Dos Santos was given the head coaching job just two weeks later, becoming the third manager in the team‘s history.

His two stints as an assistant at LAFC taught him that the team’s fans are among the most demanding in MLS, something he said he embraced.

“It’s a privilege when you coach a team in Los Angeles,” he said at the time. “Every sport here is pressure. Every team here is win, win.

“It’s a winning city and the culture of the city. So I understand that.”

Dos Santos, who is fluent in four languages, was born in Montreal and split his childhood between Quebec and Portugal. With the exception of Vancouver, he has won everywhere he’s managed, from the Ottawa Fury of the NASL, where he was named the league’s coach of the year in 2015, to the San Francisco Deltas, whom he guided to an NASL title.

LAFC was unbeaten in its first 11 matches in all competition under Dos Santos, outscoring opponents 27-3 and advancing to the semifinals of the CONCACAF Champions Cup, where it lost to Mexico’s Toluca, the eventual winner. But the team has gone 6-9-7 in MLS play since then, including Saturday’s loss when Dos Santos was without six key players — including leading scorer Denis Bouanga and captain Son Heung-min — who were with their national teams.

Afterward, he spoke about his plans for the two-week international break.

“It’s a hard moment right now for us. And we have to face it,” said Dos Santos, who was popular with his players. “It’s been hard for us to get wins. A lot of draws, a lot of close games.

“We need to have everybody together and start working on what this team can be. That’s the big objective during the break.”

John Green’s nine-year hiatus from fiction has ended, and his adult debut, “Hollywood, Ending,” comes right on time to explore the dark side of fame.

The novel centers on former child actor Juniper Castillo and Hollywood newbie Kai Laramie, who are cast in the artsy biopic “Andy Warhol Never Gets Old,” with hotshot movie star Matthew Malone in the title role. It’s Juniper’s chance to establish herself as an adult actor and Kai’s first foray into the spotlight, a position he quickly realizes doesn’t come without a personal cost.

“There’s no way I could have written this book without spending a lot of time on film sets,” Green told The Times in a recent call.

Over the last two decades, several of the author’s bestselling young-adult novels have been adapted for the screen. His debut, “Looking for Alaska” (2005), was adapted as a Hulu limited series in 2019, the same year Netflix released the feature film adaptation of his co-authored holiday anthology, “Let It Snow” (2008). On the big screen, “Paper Towns” (2008) made its film debut in 2015, while his bestseller “The Fault in Our Stars” (2012) became a box-office hit in 2014. Most recently, his 2017 novel, “Turtles All the Way Down,” received a feature film adaptation in 2024.

“I hope the book is a love letter to movies. But I also wanted to be honest about how difficult it is to make a work of art that, in order to be commercially successful, has to be loved by millions of people,” Green said. That’s where the Hollywood machine comes in. “It’s really hard to figure out how to get millions of people to pay to watch something, and that challenge leads to all kinds of compromises and sacrifices.”

While Green’s young-adult novels have often explored the teenage experience, he never felt confined by the YA genre. “I think teenagers have infinite intellectual capacity,” he said, adding that he doesn’t really think about which shelf will hold his novels inside a bookstore. In “Hollywood, Ending,” his main characters are navigating their early 20s, a period which Green finds especially interesting.

“The questions in this novel explore how it feels in those early years of adulthood when there are still so many possibilities, so many directions you might go,” he said.

The following conversation has been edited for length and clarity.

How did you land on Andy Warhol as a celebrity figure and metaphor to use in telling this story about Kai and Juniper?

I think Andy Warhol saw so much of our world coming. He saw that three-dimensional experience was going to be rendered in two dimensions. He’s most famous for taking cylindrical soup cans and making them flat, but he also saw celebrity culture coming.

There’s the famous quote about everybody being world-famous for 15 minutes. I think he understood that normal people were going to experience celebrity, and he also saw the way that the repetition of images, as I write about in the novel, would lead to a certain desensitization. So I think everything from screen-based experience to the ways that technology was going to reshape our lives, he was the patron saint of all of that.

One of the images that really struck me is when you talk about him dying wigless and being too uncomfortable with that to have friends come and visit him in the hospital.

I think Juniper says at one point that fame is a kind of armor. I don’t know how Warhol thought of his wigs, but I wanted it to be a sort of emblem of protection for him.

Your wife, Sarah, is an Andy Warhol scholar. Was that a major strength while you were writing this?

There’s a huge advantage to being able to fact-check something by shouting down the hall. I also wanted to include Warhol partly as a love note to Sarah … She co-wrote a book about Andy Warhol’s relationship with money and business called “Andy Warhol Enterprises.” After 25 years, our way of looking at art and the art that we’ve shared together is so deeply intertwined that anything I write is unimaginable without her. She’s my first reader and most important reader … It’s only thanks to her that Warhol’s in the book.

You really humanize the young actors in “Hollywood, Ending,” which, unfortunately, is a unique thing. This is an intimate, vulnerable portrayal of behind-the-scenes Hollywood — why was that important for you to examine?

I wanted to write about the machine that takes private experience and commodifies it, and I think that machine is especially challenging to navigate when you’re young, when you’re in early adulthood, because you don’t yet have those relationships that are going to carry you through. You don’t have the love that you need to survive all that you’ve got to survive. When my work became very successful, I was in my 30s. I was married. I had two kids. I lived in Indianapolis. I had best friends. I was pretty grounded, and it was still very disorienting.

How so?

It’s a completely different life to have everybody have opinions about your work than it is to take your kids to school every day. So I was thinking partly about that, but I was also thinking about the influencers I’ve known, and the actors I’ve known who’ve had to go through that [while] much younger, and what that’s been like for them as well.

You do a really good job of examining the dark side of the attention economy. Why was this especially of interest?

Well, it used to be that the attention economy was mostly a problem for actors and other celebrities, but now the attention economy is something we all participate in. We’re all taking our private experiences and packaging them up for public consumption on Facebook and Instagram and Twitter and Reddit, and I think we gain something from that, or we wouldn’t do it. But we also lose a lot.

I wanted to try to be honest about what we gain, and also be honest about what we lose. My last novel, nine long years ago, was about a young woman with OCD. I also have OCD, and I had to make a decision when I was promoting that book, about whether I would talk about having OCD, and I decided that I would, and that became a huge part of talking about the novel — talking about my own experiences with mental illness, and it was a gift in many ways because so many people have said to me that it helped them to see that it’s possible to have a good and fulfilling life while living with a serious mental illness, and it was helpful for me because it helped me feel less alone in it.

But it was also complicated because there are real costs when you share something. It’s not yours anymore in ways that are a relief, but also in ways that are difficult.

You’re offering it up for scrutiny in a way that can be really scary.

It is really scary to have your private life scrutinized in that way, right? And there’s an element of judgment that comes with creative expression that’s a natural and healthy part of conversations about what art is and what art should be, but being in the middle of those conversations isn’t always fun.

I think you capture that in Kai’s experience. He is really pressured to come out and talk about his traumatic experience, and he doesn’t want to. The “machine” wants to sell tickets and exploit his trauma in the process.

It’s one thing to try to make good art. It’s another thing to try to make good art that lots of people interact with, and a portion of that second issue is inevitably finding ways to interest an audience, and nothing interests an audience quite like a personal story, especially a personal story of overcoming difficulty.

Was the movie star Matthew Malone based on anyone specifically?

I have aphantasia, this brain condition that causes me not to be able to imagine anything visually. I have no visual imagination, and so I can’t see actors when I’m writing. I can’t see characters when I’m writing. I can’t see anything. Everything’s made out of language, and so there’s no way I could have cast the movie in my mind or had somebody in mind for the character. It’s been great to hear all the folks who people were thinking of. I’m curious who you were thinking of.

I thought of Tom Cruise a couple of times. Have other people said that?

A couple people have said that as well. Yeah.

That’s so interesting about your work with language solely. Do you think that’s been a strength with you as a writer? Because you create such vibrant visuals for your readers.

It’s the only way I’ve ever been. I never knew that other people had this vibrant visual imagination until I was in my 40s, and my wife said I think maybe the reason you don’t have a sense of direction and you have to open up all the cabinets when you put away the dishes and you don’t know whether there’s a rug in the living room is because you don’t have a visual imagination, and I was like, of course I don’t. Nobody does, and she was like, you can’t picture an apple in your head? And I was like, no, nobody can picture an apple in their head. They say they can, but they mean it metaphorically … And Sarah explained to me that, in fact, the vast majority of people can see an apple, which still seems fictional to me, like science fiction stuff.

Some people don’t have that inner voice in their head (anendophasia).

I do have an inner voice. I think. But this all gets to something really interesting about being a person, though, which is that you’re stuck the whole time you’re here inside of one consciousness and looking at the world through one set of eyes. And I have no idea what it’s like to be you. The great thing about writing fiction for me is that act of imagination, that attempt to empathize, that attempt to escape the self and imagine what it would be like to be somebody else with some clarity, but of course, there’s always a limit to my ability to do that, and that problem has fascinated me my whole career.

Your books have meant so much to so many people, and in recent years, I’ve reported quite a bit on your book, “Looking for Alaska,” being one of the most commonly banned books. How do you feel about that?

I’m really concerned about attempts to limit intellectual freedom in the U.S., especially when it comes to libraries and schools. We have professionals we’ve trained to make collection decisions and to make curricular decisions in schools, and those professionals are teachers and librarians, and I’m very disturbed when other people come into that conversation and try to usurp the work that teachers and librarians are doing. I think a lot of times authors get most of the credit for the fight against book bans, and the truth is, all the credit should go to the teachers and librarians who are often putting their jobs on the line, making really difficult decisions to try to do the best by the kids that they’re representing and working with.

John Green will be in conversation with Julia Whelan to discuss “Hollywood, Ending” at 7 p.m. Tuesday, Oct. 13, at a ticketed ALOUD event hosted at Saban Theatre. 8440 Wilshire Blvd., Beverly Hills.

KATHERINE Ryan has been spotted out and about for the first time since issuing an apology to Victoria Beckham.

The star used the C-word when talking about Posh Spice last year during an episode of Have I Got News For You, and recently apologised for it online after facing backlash.

Katherine got dolled up in a stunning green sparkly dress to embrace her inner Elphaba on the green carpet for Wicked’s West End 20th Anniversary Gala Performance.

The dress featured sequins all over as well as dangling tassels across the shoulders.

The comedian held her hands in front of her and smiled for the camera while a buzzing crowd was forming behind her for the event.

Speaking in an episode that aired on November 7, Katherine made reference to a 2013 private email sent by David Beckham, where he allegedly used the word ‘c****’.

BEAU-QUET

Victoria is gifted flowers from David after Katherine Ryan’s apology over TV slur

NOT FUNNY

Katherine Ryan apologises to Victoria Beckham after slur pulled off iPlayer

She said on the show: “I don’t know that we are allowed to broadcast the C-word, but you did reference Victoria Beckham earlier and we’ll allow that.”

The BBC‘s Executive Complaints Unit (ECU) have issued it’s ruling on the matter and have revealed there was no justification for Victoria being labelled with the offensive word.

Katherine has since taken to social media to issue Victoria an apology.

In a reel chatting to the camera, she began: “Hi I’m comedian Katherine Ryan and today the BBC announced their decision to uphold a complaint made by two very influential viewers about a joke that I tried to make on an episode of Have I Got News For You eleven months ago.

“At that time, though there is no defence, I was suffering from a condition called matrescence.

“I was in that building with a 10-day old baby. Should I have left the house?

“This is gonna be a tough one for the feminists because I was a woman going to work but I did call another woman a c***.

“[…] “The trouble is now that section’s been taken off iPlayer so the incident only exists in printed media, online media and then you lost the context because on the day, if you watched it, it was clearly a joke and the whole audience went ‘huhhhh’ and I said ‘whoaaaa’.”

An edited version of the episode has replaced the original on the BBC’s streaming service.

David also gifted his wife a lavish bouquet of flowers in support while the drama has been unfolding.

Victoria shared a snap of the flowers onto her Instagram story with a simple message over the top reading “I love you @davidbeckham”.

KELSEY Parker has been seen for the first time on an outing with her newborn daughter River.

The 36-year-old, who was married to late The Wanted singer Tom Parker, welcomed the little one with her new partner Will Lindsay last week.

River’s birth came after the devastating loss of Kelsey’s son Phoenix, who was stillborn shortly before his due date last year.

Kelsey – who shares Aurelia, six, and Bodhi, five, with late husband Tom – appeared ever the doting mum on an outing with her family this weekend.

Enjoying a day out to the park near their South London home, Kelsey was seen planting a kiss on daughter River’s head.

The newborn was sweetly dressed in a white babygrow and hat, as older sister Aurelia helped cradle her.

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In more snaps from the day out, Kelsey was glowing as she pushed River around in a pram while new dad Will wrapped his arm around her.

Aurelia and Bodhi joyfully walked beside the couple.

Last week, Kelsey confirmed her daughter had arrived safely as she said via Instagram: “Welcome to the world, River. Our little bit of hope.”

Kelsey was married to singer Tom from 2018 up until his death four years ago.

He passed following a two-year battle with terminal brain cancer.

Kelsey found love again with Will, a tree surgeon from Kent, in 2024.

The new Netflix thriller is currently sitting at number one on the streaming platform’s most-watched films

The true-story thriller has been slammed by furious viewers who ‘wasted an hour and a half of their lives’.

Brand new film Unabomber is based on the real story of lone wolf American terrorist Theodore Kaczynski, who carried out a mail bombing campaign that killed 3 people and injured 23 more. Known as the Unabomber, he committed his crimes between 1978 and 1995.

He was apprehended in 1996 and later pleaded guilty to his crimes. Theodore was consequently given multiple life sentences and spent over two decades in prison. He died by suicide on June 10, 2023, at the age of 81.

Netflix’s take on the late criminal’s story explores his transformation from a bright Harvard student into the infamous Unabomber. It stars 19-year-old actor Jacob Tremblay as the title character.

The main cast also features Oscar winner Russell Crowe, playing a Harvard professor who gets caught in Theodore’s orbit. While beloved actress Shailene Woodley portrays an FBI agent determined to get to the bottom of the Unabomber’s crimes.

The film has already climbed to Number 1 on Netflix’s most-watched charts after just one day on the streaming platform. But many viewers have urged others to skip the star-studded drama.

Writing on Rotten Tomatoes, one disappointed viewer said: “What an absolute waste of time. As far as movies go this had an okay cast. The story was based on real life so interesting I guess as it did happen. It’s sad it happened though but it did. I watched it and was expecting more than I receive.”

Someone else joined in to add: “A word that comes to mind is HOW. HOW DO THEY GET SO MANY BRILLIANT ACTORS IN 1 MOVIE AND STILL FIGURE OUT HOW TO MAKE THE MOVIE SUCK. I WAS BARLEY ABLE TO FINISH IT. COULD OF USED THESE ACTORS TO MAKE SOMETHING GREAT. LET DOWN.”

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Someone else simply wrote on X: ” #unabomber on Netflix is an hour and a half of my life I’m not getting back.” At the time of writing, the thriller has a sour 22% score on Rotten Tomatoes.

But others have rushed to the movie’s defence, with one sharing: “Surprised by the negative reviews. I found the film very well done and with a captivating story, quite well engineered. Acting is brilliant and everything is top notch (costume, music, etc). Great film.”

While a second fan added: “I actually loved this. I was just hooked at the very start. And I’m not easily entertained by movies. First of all I loved the switch from the 50s to the 90s it was refreshing. “

Unabomber is streaming now on Netflix

SAN FRANCISCO — The result of Blake Snell’s final pitch Saturday, a fastball that San Francisco Giants third baseman Shay Whitcomb lined into left field, mattered far less than the fact that the left-hander had passed the 75-pitch mark without incident.

Dodgers left fielder Teoscar Hernández threw out Whitcomb at second. And Snell walked off the field to complete a four-inning start in the Dodgers’ 4-3 win.

“Definitely needed to pitch today,” Snell said of his first start in a week and a half. “Definitely showed that. I was trying to go up and in, I was missing up and away. Even the last pitch of the game, I try to go up and in and miss right down the middle. I don’t know the last time I did that. It’s been a while.”

The Dodgers (99-62) entered locked in as a No. 2 seed for the playoffs. So, the stakes of their last two games of the regular season boiled down to health and preparation for the postseason. There was no better example of that give-and-take than Snell’s five-hit, one-run start.

Because Snell left his previous start with tightness in his left groin, the Dodgers planned for a short outing Saturday, prioritizing his health for the postseason.

“We were confident,” Roberts said of Snell’s recovery from the injury. “But it’s still good to see it. And it’s good also that we got it out of the way, that rust off — versus whatever game in the postseason, then he’s rusty, and you’ve got to kind of pick up the pieces in a playoff game. So I thought today it was really best-case scenario.”

The only run Snell gave up was the result of a double, stolen base and sacrifice fly in the third. He had three strikeouts and no walks.

Snell’s changeup was about two miles per hour faster than usual, something he wants to address before his next start. And he wants to hone the release on his curveball. But his slider, the pitch he would be most worried about if his groin injury wasn’t resolved, had promising velocity and shape.

“To throw a 92 [mph] with good horizontal break, and to see the trust I had in the back leg when throwing that, that’s a really good sign,” Snell said.

Dodgers pitcher Blake Snell throws against the San Francisco Giants in the first inning Saturday.

(Jeff Chiu / Associated Press)

Snell said he thinks he’s fully past the injury, and didn’t even think about it during the start.

“Definitely happy about where I’m at,” he said. “Now, it’s a big week for me. Catch has to be great, bullpens have to be great. I’ve really got to focus on getting in my legs, and the consistency of every throw. So to be able to pitch today and learn all of that is bigger than I could ever really express.”

Snell, who missed time because of a late spring training build-up and arthroscopic surgery in May to remove loose bodies from his left elbow, finished the regular season with just 42⅔ innings pitched. But he posted an impressive 1.90 ERA in that time.

The team considered replacing Snell’s start Saturday with a live batting practice session, Roberts said, which would have still given Snell feedback from hitters, but in a more controlled environment.

“We gave him and the training staff every out to do so,” Roberts said. “But there was a lot of confidence that he’s in a great spot.”

Snell’s recent workload was another reason for the Dodgers to be conservative with his workload Saturday. Over the past two weeks, he’s only thrown one inning.

“So there’s a balance between getting your work in, making sure you feel good coming out of it,” Roberts said. “Even for example, I could’ve pushed Tarik [Skubal in his start Friday], given his efficiency. But to me, to what end?”

Snell should be full-go for the playoffs, Roberts said. But count Snell among the Dodgers players who can benefit from the wild-card bye.

“This is still an important one,” Roberts said of Snell’s start Saturday, “to go into it feeling good, to then take that extra six, seven, eight days.”

Six to eight days off would line Snell up to start Game 2 or 3 of the National League Division Series. But Roberts declined to tip his hand on rotation order. The days off give the Dodgers extra flexibility to line up their pitching.

Mookie Betts celebrates after hitting a home run for the Dodgers in the third inning Saturday against the Giants.

(Jeff Chiu / Associated Press)

“You’re looking at, the first series, who could pitch on regular [rest], who needs extra, how potentially the next series lines up,” Roberts said. “How you can … maximize those four guys. And I do think with those four guys, it doesn’t matter the opponent, so that’s not a variable.”

Roberts also said alternating between right- and left-handers was not a variable.

“To be honest with you, you could put them all in a hat, and you could make a case for any order you put them in,” Roberts said.

Right-hander Yoshinobu Yamamoto, the stalwart of the rotation, certainly has performed to the level of a Game 1 starter, both this season and in a heroic World Series run last year.

For Game 2, it would make sense to choose a pitcher who’s comfortable starting on four days rest. Then, thanks to a pair of off days built into the series, both the Game 1 and Game 2 starters could be available to throw in an if-necessary Game 5.

Skubal has pitched on regular rest this season more than any of his rotation mates, making him a strong option to take the ball in the second game.

If the Dodgers do, indeed, go in that direction for Games 1 and 2, Snell would then be the natural choice for Game 3, on eight days’ rest. And right-hander Tyler Glasnow could take an if-necessary Game 4.

The Dodgers, however, don’t need to finalize their pitching decisions just yet.

“I love our starters,” Snell said. “I love the staff, the way we push for each other to be great and support each other. So, I can’t wait. It’s what we’ve all been waiting for, and now it’s time to prove it.”

Kyle MacLachlan is living up to his reputation as the Internet’s Dad.

It’s an especially warm day in August, and the bespectacled actor, best known for his many projects with the late auteur David Lynch, is approaching with a coffee (black, naturally) in one hand and a massive cookie in the other. The snack, it turns out, is meant for us to share.

“Whatever it is, it’s very healthy,” he says when I ask what sort of confection he chose. “It’s cranberry, oatmeal and gluten-free. Who knows if there’s any sugar in there?”

At 67, MacLachlan isn’t necessarily a health nut. But he is highly amenable and willing to roll with my vegan cafe selection, which is conveniently located near our photo shoot location. “I come from Eastern Washington state — it’s a desert,” he says assuringly when I offer to move us to an indoor seat with air conditioning. Later, as we prepare to leave for the shoot, he clocks my car, a rare station wagon, and dubs it “spec-TAC-u-lar.”

That’s MacLachlan for you — all it takes is one word (he also drops an “Aces!” during our meeting) or enthusiastic gesture (very likely a swooping thumbs up) to channel the type of eccentric and upbeat characters he’s spent the last 40 years playing. Now, with the release of his thoughtful new memoir, “Fictional Selves,” MacLachlan gives us a much closer look at the man behind the chin-jutting grin, and, in doing so, introduces us to his doppelganger, “Other Kyle,” an image-conscious shadow figure constantly trailing behind, questioning his choices.

“There’s definitely another entity, an observer, the ego, the harder self,” MacLachlan says of how he would describe Other Kyle, whom ghostwriter Jon Sternfeld first identified after noticing the way MacLachlan tended to fall into conversation with himself while recounting his life. “[He’s] the kind of person that I’m not comfortable leading within the world. But he’s definitely in there commenting on the things that I do.”

Other Kyle first began to taunt MacLachlan after he saw himself on a gargantuan billboard for “Dune” in Times Square. (In his early 20s, MacLachlan was famously plucked from obscurity to lead David Lynch’s 1984 adaptation of Frank Herbert’s sci-fi epic.)

Well before his alter ego materialized, and well before Hollywood found him, MacLachlan was prone to anxiety and fears of never fitting in. Born in Yakima, Wash., MacLachlan grew up the oldest of three boys; his parents were solidly middle-class, with his father working as a lawyer, and then stockbroker. His mother was a homemaker known in the community for her civic involvement, particularly in local arts programs. In fact, it was MacLachlan’s mother who first encouraged him to try a “Teen Theater” program, drawing him in with the promise that there might also be girls in attendance.

But it took a minute for MacLachlan to genuinely embrace his calling. As a young adult, his father pushed him to study business, while his mother urged him to try PR or communications. His studies at the University of Washington weren’t going well, so he dropped out and worked at a manufacturing plant back in Yakima. It wasn’t until a girlfriend recommended a summer theater program in North Carolina that MacLachlan leaned back into his first real passion, eventually returned to school with a newfound focus, and was accepted into the University of Washington’s professional acting program.

Kyle MacLachlan at the glass and mirror shop LA Mirror Man on La Cienega Boulevard.

(Christopher Patey / For The Times)

Fast-forward 40 years, it’s impossible to imagine that MacLachlan would have anything else for Other Kyle to latch onto. For one, his acting resume is the stuff of thespian fantasy. Sure, “Dune” infamously flopped hard upon arrival, and all planned sequels were immediately canceled. But it wasn’t long before MacLachlan had teamed back up with his mentor, with whom he had developed an almost telepathic bond on “Dune,” to lead Lynch’s much more kindly received 1986 neo-noir arthouse entry, “Blue Velvet.” A few years later, the overwhelming success of the TV mystery series “Twin Peaks” propelled the actor to the upper stratosphere of celebrity.

“When we were working together creating Jeffrey in ‘Blue Velvet’ or [Coop in] ‘Twin Peaks,’ we would sit and talk or not talk, we melded together in some weird way, we were like one person,” MacLachlan says of his bond with Lynch, who died in early 2025 of cardiac arrest due to chronic obstructive pulmonary disease. “It was this very symbiotic kind of thing in front of the camera,” MacLachlan continues. “It was like this weird circular energy. … He’s the only director I share that with.”

And yet, breaking out of what MacLachlan refers to as “The Black Suit,” worn by his unceasingly chipper “Twin Peaks” character, Special Agent Dale Cooper, proved challenging. By the time “Twin Peaks” left the air in 1991, MacLachlan had grown ambivalent about the job that changed his life, partially because he felt Lynch didn’t fight hard enough to keep artistic control of the show’s second season, which saw the network upping its creative involvement and Lynch distancing himself until the final few episodes.

MacLachlan longed to diversify his output — to show that he was capable of being a mainstream Hollywood leading man, one who could interface with a variety of directors. In the book, he writes about jobs he comes so close to booking — roles in Robert Redford’s “A River Runs Through It” and Francis Ford Coppola’s “Dracula” — but losing out at the last minute.

Kyle MacLachlan explores his alter ego “Other Kyle” in his new memoir.

(Christopher Patey / For The Times)

He took these rejections hard at the time. Many decades later, however, he can see how he was the one holding himself back. “I felt like people were only seeing the black suit,” MacLachlan says. “Now, the truth is, they would probably have been more than happy to see me as somebody else, but I was not able to deliver. … I think there was a lot of insecurity,” he continues. “I was like, ‘Maybe it’s not the suit. Maybe it’s me.’”

As the 1990s played out, MacLachlan fought an on-again, off-again existential crisis regarding the type of actor he was really meant to be. His friend and former “Doors” co-star Val Kilmer urged him to accept a lead role in a BBC adaptation of Kafka’s “The Trial,” which didn’t move the cultural needle in the States, but did put him in the same room as enormously pedigreed actors like Anthony Hopkins and Alfred Molina. He snagged a role in a Paul Verhoeven film about topless dancers — a career risk he hoped would pay off but ultimately felt like “walking into a buzz saw,” as he writes in the book.

Despite the cult reappraisal of “Showgirls,” and the lasting popularity of “Sex and the City,” Other Kyle had a few things to say about both of these roles, but the Kyle sitting across from me has a much more measured approach, particularly to “Showgirls.”

“I think it’s fun that it’s still around,” MacLachlan says. “I’ll still argue with anyone that [says] it’s a good movie. It’s not a good movie, but it’s definitely an appreciated movie, and that is kind of where I leave it.”

In the early 2000s, his wife, Full Picture founder and chief executive Desiree Gruber, pushed him to accept a role in HBO’s “Sex and the City,” playing an Upper East Side doctor with erectile issues.

Portraying Trey MacDougal was a mixed bag for MacLachlan. On one hand, he was thrilled to be part of such a cultural juggernaut, and he delighted in the emphasis the show placed on female friendship and sexual agency.

“I want to keep being challenged,” says Kyle MacLachlan, looking ahead to the next chapter of his 40-year career.

(Christopher Patey / For The Times)

At the same time, he had mixed feelings about playing an old-money mama’s boy with a Freudian Madonna-whore complex. Not to mention the sheer ridiculousness of the things the writers would have him do: One scene had him bent over a bathroom sink, masturbating to a pornographic magazine. A passage of “Fictional Selves” also recalls the cringe-inducing moment when Trey gives his wife, Charlotte (Kristin Davis), a cardboard cutout of a baby in an effort to make light of their struggle to conceive.

In the book, MacLachlan recalls being utterly dumbfounded at having been asked to do something so oblivious at best and cruel at worst. Eventually, however, he writes that he realized the writers just needed a way to foist him off the show. (His and Davis’ characters get divorced soon after the cardboard baby incident.)

“Every time I got a script, I’d be like, ‘Oh boy, OK, what’s going to happen here?’” MacLachlan says. “And then it would be, like, whatever they’ve come up with, ‘how can I shape it? What is it that [Trey’s] wrestling with? What are the issues here? Then, you know, realizing that in some cases it was just going to be a sight gag. Like, the Juggs magazine is going to be a sight gag. And as I said in the book, in my mind, I would sort of float away. I would be like, ‘That’s not really me. I don’t know who that is down there doing that.’”

As MacLachlan moved into middle age, he gradually grew more comfortable with the clean-cut oddball characters he’d so often be asked to play: a refined but possibly murderous dentist on “Desperate Housewives,” an idiosyncratic boat obsessive on “How I Met Your Mother,” an over-the-top civic leader on “Portlandia,” and, once again, Special Agent Dale Cooper (plus his doppelgängers) on “Twin Peaks: The Return.”

The 2017 “Twin Peaks” reboot would be the last big project MacLachlan would work on with Lynch, but MacLachlan would frequently visit the director in their shared Hollywood Hills neighborhood. “It’s many things,” MacLachlan says when I ask what he misses most about his friend and mentor. “The voice on the phone — ‘HEY, KALE! Come on up for coffee!’” he continues in a pitch-perfect Lynch imitation. (“Kale” became Lynch’s nickname for MacLachlan, referencing “Dune” producer Dino De Laurentiis’ Italian pronunciation.)

“Towards the end, I would go to visit him, and I would sometimes take my phone and record things. I still have these stories loaded in my iPhone — about ‘Dune,’ or a story about a moment in ‘Blue Velvet,’ or a story about when he met John Huston, or when he got a kiss from Elizabeth Taylor. … I have these little gems, and I savor those.”

Lately, Other Kyle has been replaced by Online Kyle, a goofy, lighthearted version of MacLachlan who primarily lives on TikTok and Instagram — thus the wholesome, Gen Z title of “Internet’s Dad.” And when he’s not playing a father to Ella Purnell on Prime Video’s hit “Fallout,” or interviewing a younger generation of entertainers on his podcast, “What Are We Even Doing,” MacLachlan is also someone’s real dad. One of the most endearing moments in our afternoon happens when his teenage son, Callum, calls looking for something around the house. “Oh, it’s in the fridge in the gym. In a foil. And there’s chicken in the fridge. Love you too,” MacLachlan tells his son.

There’s certainly no doubt that this Kyle doesn’t get in his head — or in his own way — the way earlier versions did. He’s still eager to test his limits as an actor, but he’s comfortable with the thought that there is no plan. “I want to keep working with interesting people,” he says with his trademark buoyancy. “I want to keep doing fun things. I want to keep being challenged. … I don’t really know where I’m going, but something will excite me, and I’d be like, ‘OK, what the hell?’ And I jump in.”

Brodsky is an L.A. culture and music writer. Her biography of Stevie Nicks “Lessons & Lace” is out now.

Colin Simmons tied the program record with five sacks as top-ranked Texas held off No. 14 Tennessee 20-17 Saturday with President Donald Trump on hand in the Longhorns’ first visit to Neyland Stadium.

Raleek Brown ran for 67 yards and a pair of touchdowns, and his four-yarder with 5:41 left gave the Longhorns the winning margin in the Southeastern Conference opener for both teams. Giannis Spetic had a pair of field goals.

It was a defensive day with Texas (4-0) dominating with 10 sacks. Simmons’ big day will be remembered for his vulgar celebration after one sack. He was flagged for unsportsmanlike conduct with the referee saying Simmons was “simulating” using the restroom.

“We took him out, we addressed it and put him back in,” Sarkisian said of Simmons. “At that point, I’m not going to give the guy a death penalty over an unsportsmanlike conduct. We got to fix it though. That can’t continue.”

Quarterback Brandon Faizon of Tennessee (3-1) made it interesting late, capping an 80-yard drive with a 30-yard touchdown pass to Mike Matthews with 1:22 left. Linebacker Arion Carter recovered the onside kick, and Jelani McDonald batted away Brandon’s pass to Travis Smith Jr. on the final play in the end zone.

Texas’ Arch Manning threw for 201 yards while being sacked six times. He also was intercepted once with the Longhorns needing the smothering defensive performance to help on a day with too many penalties, including two illegal forward passes by Manning.

at No. 2 Georgia 41, Oklahoma 13: Chris Cole scored on a 85-yard fumble return as the Bulldogs (4-0) took advantage of three first-half turnovers by John Mateer and overwhelmed the struggling Sooners in the SEC opener for both schools.

Mateer lost two fumbles, each recovered by Cole, and and had a pass instercepted as Oklahoma, which finished with four turnovers, fell behind 28-0. K.J. Bolden picked off a pass from Mateer in the second quarter.

Gunner Stockton was almost perfect in the first half for Georgia. Stockton completed his first nine passes, including a 35-yard touchdown throw to Talyn Taylor.

No. 3 Notre Dame 49, at Purdue 10: CJ Carr threw three touchdown passes and ran for another score and linebacker Drayk Bowen scored his first career touchdown on a 15-yard fumble return for the Fighting Irish.

Carr was 14-of-22 passing for 237 yards with his first interception of the season.Aneyas Williams carried 14 times for 80 yards with one TD as Notre Dame (4-0) produced a season-high 177 yards rushing. Notre Dame has won 14 straight and will start October with a perfect record for the first time since 2021.

at No. 7 Ohio State 42, Illinois 19: Jeremiah Smith tied an Ohio State record with four touchdown catches and also had career highs with 12 receptions and 217 yards in the rout of the Illini.

According to Sportradar, it is the 23rd time since 2000 an FBS player has had double-digit catches for at least 200 yards and four scores in a game. The last to do it was Western Michigan’s Sky Moore against Northern Illinois in 2021.

It is the fifth time an Ohio State receiver has had four touchdowns. The last time it happened before Saturday was Noah Brown at Oklahoma in 2016.

at No. 11 Texas Tech 49, Sam Houston 14: Red Raiders linebacker Austin Romaine returned two interceptions for touchdowns on consecutive passes thrown by different Sam Houston quarterbacks in the first half of what became a rout.

Texas Tech led only 7-0 before fellow linebacker Brock Gowlas leaped to deflect a pass thrown by Brett Holloway. Romaine, who had also jumped, then grabbed the ball out of the air and ran 15 yards for a touchdown with 14:54 left in the first half. On the first play after the ensuing kickoff, Bearcats starting quarterback Landyn Locke was back in the game, and his pass on first down was picked off by Romaine. That 31-yard return made it 21-0.

Wake Forest 30 at No. 16 Louisville 27: Connor Calvert kicked three field goals, including a 32-yarder with 6:20 remaining, to lift the Decons (3-1, 1-1 ACC) to the upset.

Gio Lopez threw for 225 yards and a touchdown. on 12 of 19 passing for the Demon Deacons (3-1, 1-1 Atlantic Coast Conference) against Louisville (2-2, 1-1). Carlos Hernandez caught nine of those for 194 yards, just three yards off the career best he set last season against Delaware. Ty Clark III carried the ball 21 times for 91 yards and two touchdowns.

No. 17 Iowa 20, at No. 18 Michigan 19: Hank Brown threw a game-ending, 16-yard touchdown pass to Reece Vander Zee to lift the Hawkeyes to the win in the Big Ten opener for both teams.

Iowa (4-0) went 91 yards on the final drive — boosted by an unnecessary roughness penalty against Michigan on a third down at midfield. Brown’s 29-yard pass to Addison Ostrenga set up the final play with two seconds on the clock.

Bryce Underwood threw a 49-yard touchdown pass to JJ Buchanan early in the fourth quarter — their second scoring connection of the game — but the Wolverines (3-1) could not make enough plays on both sides of the ball to hold on for the win.

Etc.

Wayshawn Parker broke a 54-yard run on the game’s opening play from scrimmage for the first of his three touchdowns and No. 15 Utah (4-0) held off host Iowa State (2-2) in the second half for a 31-17 win on Saturday in a Big 12 opener for both teams. … Conner Weigman threw four touchdown passes and ran for two scores, leading No. 25 Houston (3-1) to a 42-28 win over visiting Georgia Southern.

Lee Beebe Jr. rushed for 203 yards, including a 70-yard burst that set up Josh Hoover’s game-sealing one-yard touchdown run with 1:56 to play, and No. 5 Indiana (4-0) held on for a 29-23 over surprising Northwestern (2-1) in the Big Ten opener for both schools on Friday night. …

Mason Heintschel passed for 403 yards and six touchdowns, and host Pittsburgh (4-0) remained perfect by rolling past Bucknell 59-0 on Saturday. … Jeffrey Overton Jr. ran for a 76-yard, go-ahead touchdown late in the fourth quarter as Virginia Tech (4-0) rallied for a 21-14 victory at Boston College (2-2) in an ACC opener for both teams that was played in a nor’easter. …

A British Excalibur uncrewed underwater vehicle (UUV) has fired a U.S. Mk 48 heavyweight torpedo in what is said to be a first-of-its-kind test for both countries. Though just a proof-of-concept so far, this is a significant new step for the United States and the United Kingdom toward future operational fleets of armed UUVs.

The U.S. Navy and the Royal Navy conducted the armed UUV test at the British Underwater Test & Evaluation Center (BUTEC), a maritime test range in Scotland, on September 13. Personnel from the Pentagon’s Defense Innovation Unit (DIU) and the Naval Undersea Warfare Center Keyport Division (NUWC Keyport), as well as unspecified industry partners, also took part, per a U.S. Navy press release.

The test was also carried out under the umbrella of Pillar 2 of the trilateral Australia-United Kingdom-United States (AUKUS) defense cooperation agreement, which was first announced in 2021. AUKUS’ Pillar 2 covers a wide range of advanced technology cooperation, with particular focus on uncrewed platforms and autonomy. Pillar 1 of the agreement centers on support for Australia’s establishment of a nuclear submarine force.

For the September 13 test, the Mk 48 torpedo was slung under the Excalibur UUV. The nearly 40-foot (12-meter) long, 19-metric-ton submersible drone has a large internal payload bay, but it is reportedly not large enough to accommodate the Mk 48, which is the standard heavyweight torpedo in U.S. Navy service today. The 19-foot-long, 21-inch-diameter weapon has been successively upgraded over the years to expand its capabilities and improve its resistance to enemy countermeasures.

The Royal Navy officially unveiled Excalibur, which was developed by U.K.-based MSubs under Project Cetus, last year. The external torpedo launch capability was the result of two additional efforts, called Project Broadsword and Trial Iron, according to the U.S. Navy release.

The September 13 test “successfully validated the mechanical, electrical, and software integration of a U.S. kinetic payload onto an allied autonomous vessel, proving that allied forces can rapidly achieve weapon interchangeability,” the Navy’s release adds. “Approved in February 2026 by the Department of the Navy Rapid Capabilities Office (DONRCO), the project was executed in less than seven months.”

How the Excalibur UUV was controlled during the test and whether the torpedo was launched at a test target of some kind are unknown. TWZ has reached out for more information.

“BROADSWORD is a great example of how AUKUS Pillar II drives interoperability in across the alliance. Demonstrating the launch of a US torpedo from a UK extra-large unmanned underwater vehicle (XLUUV) is an important early step in developing lethality in our undersea autonomous systems,” U.S. Navy Vice Adm. Robert Gaucher, Director of Submarine Programs, did say in a statement. “We look forward to continuing to leverage the AUKUS partnership to keep pushing the potential warfighting advantages of unmanned undersea systems.”

“This successful test marks a historic first for allied undersea warfare,” U.S. Navy Adm. Daryl Caudle, Chief of Naval Operations, also said in a statement. “Proving that we can seamlessly launch a U.S. heavyweight torpedo from a Royal Navy autonomous underwater vehicle validates our shared vision for true interchangeability.

“This is a really important moment in our journey towards building a hybrid navy, which is where the Royal Navy will sail with crewed ships and submarines alongside uncrewed and autonomous vessels,” Luke Pollard, U.K. Minister of State for Defence Readiness and Industry, separately said in an interview with LBC radio. “It is a substantial increase in our lethality, to show that torpedoes can be fired not just by the Astute class hunter-killer submarines that we have in the Royal Navy, but also now by our uncrewed systems.”

The U.S. Navy and the Royal Navy employ various tiers of UUVs operationally today, but primarily for mine-sweeping and reconnaissance and surveillance missions. Future fleets of submersible drones capable of carrying out attacks on other vessels will create entirely new operational possibilities. Operated closely together with crewed surface warships and submarines, torpedo-toting UUVs could be sent ahead into riskier environments and offer an immediate option for engaging any threats they might find. Even a bigger UUV like Excalibur would also be more challenging for opponents to spot and track than a traditional attack submarine.

Excalibur is also in a category of larger and more capable submersible drones that offer significant endurance and higher degrees of autonomy. Adding in the ability to launch torpedoes, in turn, then opens the door to new concepts for employing these UUVs in groups more independently of crewed companions. In the future, for instance, armed Excaliburs or similar UUVs might be deployed to a particular maritime choke point to not just monitor for enemy movements, but actively hold them at risk.

The Royal Navy’s Xtra Large Underwater Autonomous Vehicle – project CETUS

In addition, in general, UUVs offer a way to expand total undersea warfare capacity in a more cost-effective manner compared to acquiring and fielding more traditional submarines. The ability to have more presence below the waves at a lower price point also translates to more persistence across large areas, something that could be especially valuable across the broad expanses of the Pacific, as well as other bodies of water globally. This presents additional targeting challenges and uncertainty for opponents.

“In securing the North Atlantic, especially against those nations that wish to do us harm, like Russia, the ability for us to now say it’s not just where our submarines are that you need to worry about – it is about how we create greater deterrence and question marks in the eyes of our adversary, with uncrewed systems there as well,” U.K. Minister Pollard said in speaking with LBC.

Pollard’s remarks here speak to particular considerations the British government is faced with just in its backyard. This includes the so-called Greenland-Iceland-United Kingdom (GIUK) Gap, which is the main path through which Russian Navy submarines transit to and from bases in the northwestern end of that country and the Atlantic proper. There is also the English Channel and the nearby Baltic Sea. The Royal Navy has limited capacity with its crewed submarines to monitor this and other critical regional chokepoints. UUVs could then help take pressure off its fleet of just five (of a planned seven) Astute class submarines, helping free those boats up for the myriad other missions they are tasked with, including carrier escort and special operations support.

“By converting commercial and allied uncrewed undersea hulls into high-end strike assets, the partnership drastically alters the cost-exchange ratio in contested maritime environments,” the U.S. Navy’s press release today notes, as well.

There are still many questions still to be answered about future larger UUV operations, including just how they will be deployed and recovered. Video the U.S. Navy released today shows that the torpedo-armed Excalibur was launched into the water in Scotland using a commercial truck-mounted crane. U.S. shipbuilders Huntington Ingalls Industries (HII) and General Dynamics National Steel and Shipbuilding Company (NASSCO), among others, have been working on new options for launching and retrieving larger drone submersibles from surface warships. External carriage on the hulls of ships and/or submarines might also be an option in the future.

Additional torpedo and other munition options for UUVs beyond the full-size Mk 48 could also be on the horizon. The U.S. Navy has invested heavily in compact and lightweight torpedo designs that could be well suited for employment from underwater drones like Excalibur.

The U.S. Navy says it is working with its international partners on another similar UUV capability demonstration, but this time involving an Anduril Dive-XL, under what is dubbed Project Cutlass. This effort “will tackle advanced payload integration data, command and control architectures, and tactical employment scenarios to further mature uncrewed undersea capabilities,” according to the U.S. Navy’s release.

The Royal Australian Navy is already in the process of acquiring and fielding a militarized version of the Dive-XL, called Ghost Shark. It’s also worth noting that the Dive-XL evolved from the earlier Dive-LD design. The Dive-LD is in at least limited operational U.S. Navy service now, a fact that was revealed by Iran’s capture of one of these submersible drones earlier this month, as you can read more about here.

Introducing: Dive-XL

The U.S. Navy is also continuing to push ahead with plans to field a force of Orca XLUUVs from Boeing. In August, the service announced that an Orca had conducted a 1,000-nautical-mile transit in the Pacific the preceding month as part of the ongoing development of that design.

Other countries are pursuing larger UUVs, as well. China has been making strides in this regard and is in some ways ahead of other competitors globally.

Excalibur’s ability to launch a standard Mk 48 heavyweight torpedo is already an important show of progress now toward a shared goal of a future underwater ecosystem that includes submersible drones that are able to attack other vessels.

Contact the author: joe@twz.com

Rams coaches and personnel executives call it “the moment of truth,” the split second when a defensive back, usually on the run in full stride next to a receiver, must decide how he is going to play a pass that is already in the air.

Top NFL cornerbacks remain calm. They do not panic.

“It’s those guys that just kind of — their blood pressure never rises,” defensive coordinator Chris Shula said.

Trent McDuffie is one of those guys.

The Rams traded for the All-Pro cornerback in March, sending the Kansas City Chiefs the 29th overall pick and three other draft picks for the four-year veteran. They quickly signed McDuffie to an extension that includes $100 million in guarantees.

Last Monday, McDuffie intercepted a pass in the Rams’ 28-6 victory over the New York Giants, a win that helped erase some of the sting from their embarrassing season-opening defeat by the San Francisco 49ers in Australia.

In McDuffie, a two-time Super Bowl winner, the Rams got even more than expected, coach Sean McVay said.

“He just has an amazing emotional intelligence of how to uplift and lead his teammates and challenge them in a way that’s authentic to his personality,” McVay said. “He loves the opportunity to be able to have some of the hard downs that a lot of corners sometimes don’t want, but this guy wants them.”

McDuffie, 26, is looking to make more plays Sunday night when the Rams play the Denver Broncos at Empower Field at Mile High.

With the Chiefs, McDuffie played against the Broncos six times, and he is still looking for his first interception against the former AFC West rival.

But mainly, he aims to help the Rams continue their momentum after giving up only two field goals against the Giants.

“It was one of those attitude games, where we didn’t have the greatest Week 1 performance,” McDuffie said. “So there was a little chip on our shoulder, a little attitude we brought.”

McDuffie began his rise to NFL stardom during a high school career that featured stops at Santa Ana Mater Dei, Anaheim Servite and Bellflower St. John Bosco, before playing in college at Washington.

Rams cornerback Trent McDuffie walks off the field after a win over the New York Giants on Sept. 21.

(Kyusung Gong / Associated Press)

The Chiefs selected him in the first round of the 2022 draft, and he helped them make three Super Bowl appearances, winning two.

McDuffie said he learned a tough but valuable lesson against the Philadelphia Eagles in Super Bowl LVII in Arizona in 2023.

With the ball at the Chiefs’ 45-yard line, the 5-foot-11 McDuffie lined up against 6-1, 225-pound receiver AJ Brown. As they ran downfield, McDuffie saw the ball in the air. But he did not know which way to turn his head. He did not know how he wanted to play the ball.

Brown caught the pass for a touchdown.

“Too much thinking in my head to where I didn’t make the play,” McDuffie said.

McDuffie turned the experience into a positive while developing into one of the NFL’s top players at his position.

“From then on, it was almost like, ‘All right, the ball’s in the air, it’s not so much a panic, it’s like you get an opportunity now,’” McDuffie said. “When you’re a DB in the NFL, there’s only so many times they’re going to throw the ball your way. There’s only so many times you’re in a position to make a play, so just kind of calming myself down.

“When the ball’s in the air, don’t panic — just become the receiver. Get back to the basics. You know how to play football. You know how to catch the ball. Just go make a play.

“And really, it’s the fear of failure that I don’t have anymore. Like if they make a play, they make a play. Let’s just line up and let’s keep attacking.”

The next season, despite not intercepting a pass, McDuffie earned All-Pro recognition. He forced five fumbles and had three sacks.

It did not take long for McDuffie to make an impression on his Rams teammates. During offseason workouts and training camp, he established himself as a leader and was voted a team captain.

His first interception for the Rams was the fourth of his career.

“I was in the right place at the right time to make the play,” said McDuffie, who also broke up three other passes, “but I think overall as a group we really took a step in the right direction, which looking back at the film was the most exciting part for me.”

Rams receiver Davante Adams raved about McDuffie during training camp. This week, he said McDuffie had been the “best-kept secret” in Kansas City.

“I’m just glad to see him making plays on guys that aren’t our receivers now,” Adams said. “Go out there and do his thing, show the world.”

Defensive lineman Aaron Donald did not see McDuffie up close until he came out of retirement to rejoin the Rams last month. McDuffie made an impression in Donald’s first game against the Giants.

“I usually don’t watch the DBs,” Donald said, “but he caught my eye. He’s something special.”

On Sunday, McDuffie won’t be the only elite cornerback on the field. “There’s a ton of great corners in the league,” McDuffie said, but he regards Patrick Surtain II of the Broncos, the 2024 NFL defensive player of the year, as the best.

“It’s always fun just being able to see him in person and work his craft,” McDuffie said.

McDuffie intends to showcase his own against a Broncos team that features quarterback Bo Nix operating coach Sean Payton’s offense.

The Rams are seeking another dominant performance.

“Now that we did it once,” he said, “now we have to prove it again.

“That’s kind of the standard.”

THINGS seem to be going from strength to strength for Olivia Attwood and Pete Wicks as they enjoyed a loved-up weekend together after spending time apart.

The couple cuddled up for a mirror selfie in a lift, with Pete holding up his phone as Olivia leaned into him.

Shared by Pete on Instagram, the presenter’s £26k Hermès bag could also be seen at her side as they posed for the cosy snap.

Olivia, 35, recently spent time in New York for Fashion Week while Pete, 37, remained in the UK.

The pair had made their red carpet debut as a couple at the National Television Awards just days before she flew out.

They shared a kiss in front of the cameras at London’s O2 Arena, after keeping their romance a secret from fans for months.

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Olivia and Pete were first pictured kissing in March, following her split from footballer husband Bradley Dack in January.

Pete finally made their relationship Instagram official in July with a series of cosy snaps from a trip to Ibiza. Alongside them, he wrote: “I guess someone has to go first.”

Their romance grew out of a long friendship, and the pair previously hosted The Sunday Roast together on KISS. 

Olivia has described being with the former Towie star as “the easiest thing I’ve ever done”.

And their latest loved-up picture suggests the couple are definitely pleased to be back together after Olivia’s trip across the Atlantic.

The U.S. Navy has given us the first look at Blackbeard hypersonic strike missiles under the wings of F/A-18E/F Super Hornets during actual flight testing. The Navy is hoping to have Blackbeard in at least limited service no later than 2028, giving its carrier air wings an all-new fast-flying standoff weapon, particularly for engaging enemy ships. The missile is also being designed to be relatively cheap and quick to manufacture.

The Navy’s Office of the Portfolio Acquisition Executive for Aviation (PAE-A) has released a video montage of Blackbeard undergoing flight testing, seen in the social media post below. The service confirmed that it had at least begun test-loading the missiles onto F/A-18E/F Super Hornets in a presentation at the Tailhook Association’s annual convention last month. Now we know the program has moved ahead substantially from that point.

The company behind Blackbeard, defense start-up Castelion, has received several multi-million-dollar contracts from the Navy just this year explicitly to support integration of the weapon onto the Super Hornet, as well as otherwise accelerating its development. In its daily contracting on September 14, the Pentagon announced the Navy had struck yet another deal with Castelion, valued at $43.65 million, “for the manufacturing, assembly, testing, and delivery of the first production lot of 444 All-Up Rounds (AURs), defined as fully functional tactical missiles packaged within specialized shipping and storage containers.”

In terms of what we know today about Blackbeard’s design and capabilities, as we have previously written:

“A profile photo [seen below] at the company’s headquarters reveals a weapon with a ballistic missile-like booster, on top of which is mounted what could be an unpowered hypersonic glide vehicle (HGV). A booster brings an HGV to the desired velocity and altitude before releasing it toward its target. The concept is in contrast to air-breathing cruise missiles capable of traveling at hypersonic speeds. Hypersonic speed is generally defined as anything above Mach 5, which larger ballistic missiles also reach in the course of their flights. More precise performance figures for Blackbeard are lacking, but Castelion has previously hinted it could hit targets out to just under 500 miles. Alternatively, the second stage may also have its own motor, allowing it to continue accelerating or sustain high-speed flight. A similar arrangement has been suggested as the propulsion system for the Russian Zircon missile.”

“Both stages of the weapon have cruciform fins, while the upper one features a prominent ‘chine’ line along the length of its body, and a slightly beaklike nose. The trolley on which the weapon is mounted provides some idea of its overall size. The blue stripes seen on each stage normally signify that a munition is an inert, non-explosive round utilized for training or tracking purposes. This would indicate a real (unarmed) missile rather than a dummy or mockup.”

A picture shown at Tailhook had also offered a new look at the front of the missile, exposing what looked to be an aperture on one side of the design’s wedge-shaped nose. As we wrote after that image emerged:

“The apparent apertures are also seen pointed up, but many air-launched munitions do flip down after release.”

“How exactly Blackbeard is guided remains unknown, but a downward-angled aperture at the nose end for a seeker system would make sense for this weapon, which the Navy is pursuing primarily as a new way to target enemy ships. In particular, a wide array of existing anti-ship and land attack missiles, as well as certain anti-air types, have variously shaped apertures in their noses for imaging infrared seekers. Imaging infrared has the benefit of being immune to radio frequency electronic warfare jamming. In addition, it is a passive capability that does not send out signals that can give an opponent advance notice of an incoming attack. Blackbeard’s full guidance package very likely also includes some means of navigating to a target area first, and it could have multiple modes of operation.”

The new flight testing footage released today also underscores the relatively small size of Blackbeard overall. While the Super Hornet is set to be the first operational launch platform, it is very likely to be integrated on other aircraft quickly thereafter. The Navy is acquiring Blackbeard under a program called the Multi-mission Affordable Capacity Effector (MACE).

Requirements for MACE that the Navy put out previously explicitly called for a design compact enough for carrier-based F-35C (and land-based F-35A) Joint Strike Fighters to carry four of them internally. Whether that remains a goal in any way is unclear. Still, being able to carry some number of Blackbeards internally would not only give those jets a hypersonic strike weapon, but one that they could carry in the most stealthy configuration. The Navy also notably does operate the F-35A outside of the test and evaluation community, which might point to air-launched Blackbeards entering service elsewhere in the future. As an aside, the U.S. Army is pursuing a ground-launched version of this missile, as well.

Another critical aspect of Blackbeard is the emphasis on lower cost and the ability to produce the missiles readily at scale. The conflict with Iran has fully driven home long-standing concerns about the depth of U.S. stockpiles of various critical munitions, as well as its ability to replenish them quickly. Blackbeard reflects a larger push across America’s armed forces to add more cost-effective weapons that can be acquired on faster timetables to their arsenals. Bringing in new, smaller companies like Castelion to develop and build these munitions has also been a major point of focus. To put this all in immediate context, in May, the Pentagon announced a framework agreement to buy 12,000 Blackbeards over the next five years.

As mentioned, the Navy’s stated goal now is to reach an early operational capability with Blackbeard by 2028, if not sooner. What the exact fielding plan for those missiles might be is unclear. PAE-A did write “Coming soon to a theater near you” in its post on X containing the video montage, and tagged the official accounts for U.S. Central Command (CENTCOM) and U.S. Pacific Command (PACOM). CENTCOM oversees U.S. military activities in and around the Middle East, including ongoing operations against Iran. U.S. military officials have also long touted hypersonic weapons, in general, as key to success in any future conflict in the Pacific, especially a high-end fight against China.

It’s also worth noting here that U.S. military hypersonic missile programs across the services have faced repeated setbacks and delays over the years. This, in turn, has prompted discussion about a worrisome gap emerging in this arena between the United States and its chief global competitors, especially China. It is very possible now that Blackbeard could be the first operational air-launched type in American inventory, depending on how the U.S. Air Force does or does not proceed with its Hypersonic Attack Cruise Missile (HACM) program. The Air Force has said previously that it is aiming for HACM to be operational, at least on a limited level, before the end of Fiscal Year 2027, which begins next month.

If nothing else, we have clear evidence that the air-launched version of Blackbeard is now deep in flight testing for the U.S. Navy.

Contact the author: joe@twz.com

WASHINGTON — For the third time this month, the Supreme Court has rejected Missouri’s bid for one more Republican-leaning congressional district.

With no dissents, the justices upheld a state court order requiring the use of a 2022 election map, which favors Republicans in six of the eight districts.

“At this late date, ordering reversion to the 2025 map in the midst of an ongoing election would usher in electoral chaos,” the justices wrote.

The GOP, with the backing of conservative federal judges, wanted to use a new 2025 election map that redrew the district in Kansas City that had elected a Black Democrat.

That would have given Republicans a 7-1 advantage, but the Supreme Court stood in the way.

“As a matter of state law, the 2022 map — not the 2025 map — must be used in the 2026 congressional election,” the justices said in an unsigned opinion. “This Court has repeatedly cautioned that lower federal courts should not ‘alter the election rules of a state on the eve of an election.”

Each side in this messy dispute accused the other of seeking to change the voting districts on the eve of the election.

On Tuesday, the opponents of the newly drawn GOP-friendly map appealed to the Supreme Court for the third time. They said it is too late to switch the districts because ballots had gone out based on the existing map.

They said the Republicans “demand a new map after votes have already been cast. Ballots using the 2022 map have been printed and mailed, and absentee voting, both by mail and in-person, began today.”

But the state’s Republican attorneys said the primary elections took place under the new 2025 map, and that argues for keeping those districts in place for the general election in November.

Last September, the Missouri General Assembly, following President Trump’s lead, voted to redraw its eight congressional districts. In recent years, the state had sent six Republicans and two Democrats to Congress.

The Legislature’s goal was to flip one more seat in favor of Republicans. The new map would do that by breaking up the Kansas City district that had elected Rep. Emanuel Cleaver, a Black Democrat, with a new district that favored a Republican.

But a group called People Not Politicians and its executive director, Richard von Glahn, gathered more than 300,000 signatures for a referendum to challenge the new law before it took effect.

After waiting nine months to respond, Missouri Secretary of State Denny Hoskins, a Republican, denied the referendum in early August on the same day the primary elections got underway.

Von Glahn and his group of voters sued and won a unanimous decision from the Missouri Supreme Court on Sept. 3. Its judges said the state Constitution authorizes such a referendum and a new election map cannot take effect until the voters have spoken.

Hoskins filed an emergency appeal at the Supreme Court and cited the “chaotic fallout” from the state court “irresponsible decision.”

Justice Brett M. Kavanaugh, who oversees appeals from the 8th Circuit Court based in St. Louis, denied the appeal without comment on Sept. 8.

But shortly after his decision was issued, U.S. District Judge Stephen R. Clark, a Trump appointee, issued a temporary restraining order that prohibited the state from using the any voting map other than the new one.

People not Politicians appealed that decision to the Supreme Court.

On Sept. 10, Kavanaugh and the full court granted the appeal and blocked the judge’s order from taking effect.

The justices did not explain their reasoning, but the meaning of the order was clear. The state Supreme Court ruling meant the new map could not be used for this year’s election.

But that did not stop the 8th Circuit Court from ruling the state must use the new map.

Siding with several Republican candidates, a 2-1 majority said the use of 2022 map was unconstitutional because the primary elections were held under the new map. Its decision ordered the elections to be held using the new map.

This was a surprising ruling, since the Supreme Court’s order on Sept. 10 barred judges in Missouri from intervening further in the dispute over the voting maps.

But after a third trip to the court, the justices said the state must use the 2022 map.

“You only need to find one person in this entire world who doesn’t find you completely insufferable.”

That’s the wisdom Taylor Swift dispenses near the end of “Cleveland!,” one of four new songs on a newly expanded edition of “The Life of a Showgirl,” and if that exclamation point doesn’t tell you she’s found that person then I don’t know what would.

Released Thursday night, almost exactly a year after the original album came out, “The Life of a Showgirl: The Encore” tacks four bonus songs onto the blockbuster 2025 LP that set a new record for the biggest opening week of all time even as it drew the harshest reviews of her career. It also follows Swift’s high-profile wedding in July — her husband, the NFL star Travis Kelce, grew up in Cleveland Heights — and comes just as Grammy voters are about to decide on nominations for February’s awards ceremony, where “The Life of a Showgirl” is eligible for Swift’s eighth album of the year nod. (In case you haven’t been keeping track, that would tie her with Frank Sinatra for the most in Recording Academy history.)

In a statement ahead of “The Encore’s” release, Swift said she’d taken a trip to Sweden to celebrate “Showgirl’s” success with Max Martin and Shellback, her two principal collaborators on the album. “Really we just wanted to reflect and take in how grateful we were for the moment we were in,” she wrote, “but there was a studio there and we did what we do when we feel anything at all: We wrote more songs.”

Here are the four “Encore” tracks, ranked from worst to best.

4. ‘Cleveland!’
The exclamation point really is hilarious. (No shots at Cleveland.) I kind of dig the airy jangle-pop production, which reminds me a bit of “Ruin the Friendship,” by far the best song on the original “Showgirl.” But writing about her and Kelce’s romance as a bulwark against all the hate she receives as a rich and powerful pop star feels pretty uninspired, at least as rendered here. “The taste of me is acquired, but it’s his favorite dish”? Alas, no.

3. ‘Patient Zero’
“Encore’s” lead single — with a splashy music video set to premiere during Sunday night’s MTV Video Music Awards — has Swift fielding a phone call from a woman who’s dating one of the singer’s exes and could use a little advice. (“I’ve gotta be honest — I’ve been expecting your call,” Swift tells her.) That’s a rich premise, and I like the way the unexpected fiddle lick scrapes against the glossy synths. Again, though, the lyrics lack the emotional sophistication with which she once would have told a story like this one. And the song’s central image — a guy with a “devil on his shoulder under his halo” — is downright awkward.

2. ‘Pink Clouding’
OK, now we’re getting somewhere. This shimmering electro-pop number takes its title, as I just learned, from a term used among people experiencing addiction to describe the temporary euphoria one might feel in the early stages of recovery. (Recall that Swift wrote “Lavender Haze” a few years ago after hearing the phrase on “Mad Men.”) Here she’s looking back with regret at a relationship that she can see now was clearly a rebound: “You met me at a cursed time / I told you I was fine / And you were so good / That’s why you haunt me like you should.”

1. ‘Babylon’
Look, I’m not crazy about “liberated libertine.” And “Love is ice upon the ladder that you need to climb”? It’s giving Airbnb wall art. But man, oh man, does Swift finally tap into something deep in “Encore’s” closer: a trembling acoustic-guitar ditty about someone who’s realized only too late what they let slip away. Listen for yourself to hear how she sings it — this is a beautifully tender vocal performance — but the verse about the all-but-abandoned young mom sneaking into the bathroom to call her mom is an absolute killer. Taylor Swift: good songwriter!

In an otherwise empty compartment of a regional train on its way to a small town in Germany last month, a friendly passenger asked if I was headed to Halberstadt for “the note change.” He was an Australian law professor based in Hong Kong who was traveling with his Swiss mother for the irregular ritual every few years of a new note being sounded on a decommissioned old church’s diminutive modern pipe organ in what feels like the middle of nowhere.

He was hardly alone. The audience the next day in the packed late-Romanesque St. Burchardi “John Cage Organ” Church had come from seemingly everywhere, along with international media, to witness a barely distinguishable new note added to a sustained chord in Cage’s “Organ2/ASLSP.”

“ASLSP” stands for as “As Slow(ly) and Soft(ly) as Possible,” adapted from the opening line of the final paragraph in James Joyce’s “Finnegans Wake”: “Soft morning City! Lsp.” Cage had meant his organ piece to enjoy the indeterminacy of neither the performer nor the audience knowing how long the score, in eight parts, would last. In Halberstadt, they are stretching it out 639 years! The performance began in 2001 with the intent that each note change would be a great event.

Four years ago, Times columnist Nicolas Goldberg wrote an opinion piece about his fascination with what to him sounded like a profound project about the meaning of time. I tried to talk him out of what I believed to be a gimmicky violation of the being-in-the-moment spirit of Cage. But what mattered to Nick was the idea, not the intent, and he used me in his column as a foil. Still, Cage has been central to my practicing what some people (not me) call music criticism, and I contended wild horses couldn’t drag me to Halberstadt.

Nevertheless, early August’s “From 7 to 8,” as the note change was advertised, occurred almost exactly to the day, as when, 50 years earlier, I filed my first music review in the Los Angeles Herald Examiner. This was also to be my last summer and 121st season on staff of the Los Angeles Times. I step down as music critic Friday. (I still plan to contribute to The Times on an irregular basis.)

I happened to be visiting the Salzburg Festival in August and, in a spirit of endgame, hopped on a train to Halberstadt. On the seven-hour ride, my half-century Cage-suffused career passed through my mind.

I thought about how Cage had once told me that when he was a boy in Los Angeles, he loved Grieg with no need to know why. When he studied music, reason replaced love. It was only regaining the ability to hear music as music that he could compose.

Cage described this as an example of the celebrated Zen koan about reality: First there is a mountain, then there is no mountain, then there is.

When I accidentally stumbled into music criticism with an academic penchant for music analysis, my crutches for writing about music were technical and of little use in a newspaper. I had to find a way to simply listen. It gave me new ears, and I was hooked.

Cage solved my next problem by insisting that the way to discover new things is to overcome our dependence on our likes and dislikes, those supposed pillars of criticism. College taught me to investigate the “great” composers who mattered and disdain those of no value. Consequently, I had never paid attention to the likes of Rachmaninoff and Shostakovich but discovered that they moved listeners deeply. Again, for me, so-called criticism proved a pathway to opening the mind, and writing about discovery is an ancient pleasure. Cage put it this way: “It’s not what I don’t know that scares me, it’s what I do know.”

The great enticement to return to L.A. after spending nine years in New York (and periodically reporting on Cage from the East Coast and Europe for The Times) was the prospect of Walt Disney Concert Hall. Construction hadn’t yet begun and fundraising was iffy; the community was scared about what it didn’t know. I came armed with another Cage-ism: Every seat is the best seat in the house.

I tried to get the Music Center to make that the motto of the hall. After all, Cage was born at Good Samaritan Hospital about a mile from Disney. That didn’t fly. Still, thanks to Frank Gehry, every seat meant every view inside and out was the best. Every way of seeing also meant every way of hearing. Disney taught L.A. the joy of architecture in a way many of us had never known in this haphazardly built town. Once it was built, there was no choice but to embark on an ongoing love letter to L.A.

Such thoughts on the Cage train poorly suited arriving in the heart of the state of Saxony-Anhalt. One of the first things to catch my eye was a campaign billboard for a far-right Alternative for Germany candidate. A month later AfD would win a landslide victory, dividing Germany and alarming much of Europe.

The streets were mostly deserted. There wasn’t much open, giving the handsome and well-preserved Halberstadt a “Twilight Zone” aura.

In the St. Burchardi Church in Halberstadt, Germany, “The Cage Organ Project” is to be played for 639 years.

(Mark Swed/Los Angeles Times)

Dawn, though, attracted life. “The Cage Organ Project” proved marvelous, to use one of Cage’s favorite words. Whether they were 200-euro ticket holders who had journeyed long and far to be in the church for the note change or the hundreds on complimentary folding chairs outside on the lawn, unshaded in the hot sun watching on large video screens and listening with the assist of a fine amplification system, the aura was now calmness, grace and gratitude.

Nick had been right all along. Time became grounded. The note change is a marker, but the organ, in which air is electronically blown through the pipes day and night for all to hear, has become an endearing sound that connects you to your being. Here and now and hear and now are the same.

ASLSP, moreover, reflects the magical unhurriedness the world craves, be it the slowing down of AI or turning down the volume on social media and politicians’ bully pulpits. None of this may have been on Cage’s mind when “Organ2/ASLSP” had its premiere in Metz, France, in 1987, five years before Cage’s death. That performance lasted a half hour. But Cage is no longer with us, and “Organ2/ASLSP” now has a marvelous life of its own.

One of my most memorable interviews at The Times was with the Dalai Lama in 1999. He had never given one about music and appeared at first sorry he had agreed to. Every question about music got a negative response. The only need he expressed for it was as a fundraising tool for his Tibetan government in exile.

Noting my distress, he explained the problem with music is how easily we get attached to it, and at the heart of Buddhism is nonattachment. Then, breaking the tension with his trademark belly laugh, he admitted his problem was attachment to Buddhism.

At Halberstadt, I may have found my way of letting go. But I also leave The Times with the gratitude not only for the freedom it allowed me to champion causes but also to be part of a very long, quirky process that makes this newspaper unique.

Going back to 1925, there have only been four Times classical music critics in 101 years, and arriving here in 1996, I immediately discovered my roots in Isabel Morse Jones. A violinist who covered music from 1925 to 1947, she was a modernist with her finger on the pulse of the times and stood in refreshing contrast to the fussy East Coast male critics.

She was said to have provided an intellectual awakening of music on the West Coast. She put the Hollywood Bowl on the map. She championed new music and not just the stellar locals, Stravinsky and Schoenberg, but also the avant-garde and world music no one else gave the time of day. After leaving The Times, Jones founded the Music Academy of the West in Santa Barbara originally modeled after the Salzburg Festival.

She threw her lot in with the society page editor, who covered women’s clubs. Together they became a power duo who campaigned to build a home for the Los Angeles Philharmonic, which three decades later led to the Music Center. That society editor — who chronicled and illuminated the social, political and artistic issues in L.A. in the 1930s from the women’s perspective — was Crete Cage. John Cage’s mother was a must-read for all women in L.A.

We cannot hold on to Cage, but we can’t escape him either. Times look bad. L.A. feels in the dumps. It was like that, as well, when I arrived at The Times in 1996. The city was still recovering from the 1992 riots — the beating of Rodney King had caused a profound social reckoning — and the 1994 earthquake. There was a recession. The L.A. Phil, now the model arts institution in the country if not the world, was millions of dollars in the hole.

Today, catastrophe is wherever you look. The Olympics, the environment, the damn developers, self-driving cars, LAX. The news business isn’t so hot either.

But let history — and John Cage — remind us that opening our ears can be the conduit to opening our minds. We have a wealth of new artistic leadership on the way at the L.A. Phil, L.A. Opera, L.A. Chamber orchestra and Pacific Symphony; new management at the L.A. Master Chorale and the Wallis and Long Beach Opera. And new ideas all around us.

Just as Disney Hall spread joy when we needed it most, one of Gehry’s final masterpieces is taking shape, the Colburn Center on 2nd Street a block from Disney. I took a hard-hat tour after returning home from Halberstadt and experienced the same combination of awe and promise. When it opens next year, it will be a game changer.

And even here, Cage the connector can’t keep out. At the press opening of Peter Zumthor’s new LACMA building, I buttonholed the architect, telling him I see John Cage all over the place. He looked startled for a moment and then with an uncharacteristic grin replied that he considered that a welcome compliment. Chance, he said, is very important.

Across town, one of MOCA’s most successful exhibitions was its 1993 Cage celebration, “Rolywholyover A Circus.” Cage asked for natural light, so that paintings would always look different whenever you saw them. He wanted the surprise of artwork hung in an unpredictable fashion. He wanted to let the outdoors in and the indoors out.

It is no coincidence that this describes aspects of the new LACMA. “Rolywholyover” traveled to the Guggenheim in New York’s SoHo district the next year, and the young curator in charge was Michael Govan, LACMA’s visionary head behind the Zumthor galleries.

Along with the new LACMA building we have a new Metro D Line stop nearby. Now a direct connector between LACMA and the Colburn Center passes almost directly under Good Samaritan Hospital.

Let me make my last suggestion as “music critic.” How about naming the new D Line connection between LACMA and the Colburn Center the John Cage Express?

Not everything has to be as slow as possible.

Aaron Donald is still earning his spot.

In his mind, anyway.

During defensive line drills, the Future Hall of Famer continues to go third — even when groups are split — rather than lead.

“Earning my keep right now,” Donald said after Rams practice Thursday. “I’m a guy that likes to work and earn everything I get.”

Donald, 35, has one game under his belt after returning from a two-year retirement to rejoin the team that selected the three-time NFL defensive player of the year in the first round of the 2014 NFL draft.

Donald played 33 snaps in the Rams’ 28-6 victory over the New York Giants on Monday. He made three tackles, including one for a loss.

Donald said he watched tape of his performance six times — two times by himself, once with his brother and three more times on his own.

“Not as bad as I thought,” he said. “A lot of things to clean up but on the right track.”

Donald looked “excellent,” defensive coordinator Chris Shula said.

“He was awesome,” Shula said. “He put a lot of pressure on the quarterback, and then you see like some of the run plays … that group as a whole played really tough, played stout, played physical at the line of scrimmage and Aaron was a huge part of that.”

Now, one of the top interior pass rushers in NFL history is preparing for Sunday night’s game against the Denver Broncos in Denver.

Will Donald’s playing time increase?

“Every game is going to kind of tell its own story,” Shula said. “I think we have a general range of where he would be, but I think depending on how the game plays out, you never know how many snaps and the situations that you’re going to be in.

“You never want to put a full hard cap on it.”

Donald is happy with the way his return to game action is playing out.

“We’ve got a good rotation … keeping guys fresh and right now I’m liking it,” he said. “I think it’s at a great pace right now.

“I’m getting my feet wet, get going, get a feel for the game again and other guys are out there working and getting work too.”

Etc.

Rams receiver Puka Nacua (hip), who sat out against the Giants, did not practice for the second day in a row. On Wednesday, coach Sean McVay told reporters he was “not sure” if Nacua would play against the Broncos. Later in the day, he told ESPN radio that Nacua was “not making great progress.” … Tight end Colby Parkinson (knee) and safety Kam Kinchens (hamstring) also did not practice.

Who: Turkiye vs France
What: UEFA Nations League
Where: Kocaeli Stadium in Izmit, Turkiye
When: Friday, September 25, at 9:45pm (18:45 GMT)
How to follow: Al Jazeera Sport will have all the build-up from 15:45 GMT.

Zinedine Zidane was asked if taking charge of his first France game on Friday will feel just as special as his playing debut for Les Bleus more than 30 years ago.

“Even more so, maybe,” a smiling Zidane said on Thursday ahead of a Nations League game in Turkiye. “I feel an immense emotion being at the head of this France team.”

Zidane’s dream was realised when he replaced Didier Deschamps after the 2026 World Cup. His former teammate Deschamps was in charge for 14 years, winning the World Cup in 2018 and losing the 2022 final.

Now it’s Zidane’s chance to make his mark on a team he once starred for.

Affectionately nicknamed “Zizou”, his face was beamed onto the Arc de Triomphe in Paris the night France celebrated its first World Cup triumph in 1998.

Zidane scored two headers in the final in a 3-0 win over Brazil and later that year he won the Ballon d’Or. Two years later, he was instrumental in France winning the European Championship.

His rise to the top seemed almost fated, for his international career began brilliantly in 1994 with two stunning goals against the Czech Republic after coming on as a substitute.

He then won league titles with Juventus and Real Madrid and scored a brilliant volley to help Madrid win the Champions League in 2002.

Zidane understands expectations are high, given his achievements as a player and how he led Real Madrid to three straight Champions League titles as a coach.

“It’s something new. I’m taking over as head coach so people are talking about it,” he said. “That makes sense.”

After facing Turkiye, France plays Belgium away on Monday before hosting Italy on October 2, and Belgium three days later, with both those games at the Stade de France.

Mbappe given all clear for France’s trip to Turkiye

France’s all-time top scorer Kylian Mbappe is set to captain the side, having shrugged off a minor injury.

Zidane was asked why, given that Mbappe is captain, he was not present at Thursday’s pre-match news conference. Instead, it was midfielder Adrien Rabiot who spoke to the media.

“The obligation is to have one player and the coach,” Zidane said. “[Mbappe] is fine. He will be ready to play tomorrow.”

Rabiot is one of France’s vice-captains along with forward Ousmane Dembele and right back Jules Kounde.

Rabiot said the huge attention placed on Zidane gave the players a welcome back seat.

“His aura means he commands a lot of attention,” Rabiot said. “In a way, it’s a good thing that the focus is more on the coach than the players. It gives them a bit more peace and quiet.”

Zidane understands the limelight but does not seek it.

“You have to accept how things are. But I’m not here for that,” he said. “Winning matches is what interests me the most.”

What happened the last time Turkiye played France?

The sides shared a 1-1 draw in Paris in 2019 in a qualifier for Euro 2020.

Olivier Giroud gave the home side the lead in the 76th minute before Kaan Ayhan levelled for Turkiye five minutes later.

Head-to-head

This will be the seventh meeting between the nations, with France claiming four wins to Turkiye’s one in the previous encounters.

Turkiye team news

Turkiye will be without the services of Hakan Calhanoglu and Kenan Yildiz due to injury. Real Madrid starlet Arda Guler, however, is available despite fears of a knock.

Turkiye predicted starting lineup

Cakir; Celik, Demiral, Bardakci, Elmali; Ozcan, Kokcu, Yuksek; Guler, Yilmaz, Akturkoglu

France team news

Zidane can choose from six new faces in his squad.

Striker Esteban Lepaul (Rennes), defenders Leny Yoro (Manchester United) and Jeremy Jacquet (Liverpool), midfielder Lucas Da Cunha (Como), Andy Diouf (Inter Milan) and Guillaume Restes (Toulouse) are set for their debuts.

“I’m happy with what I’ve seen so far. The French team is open to everyone,” Zidane said. “We’ve got a good squad, some veterans, some newcomers.”

France predicted starting lineup

Maignan; Kounde, Upamecano, Lacroix, Truffert; Camavinga, Rabiot; Dembele, Olise, Doue; Mbappe

In a small coastal town just south of the Sri Lankan capital, Colombo, a young Rumesh Pathirage daydreamed about running away from school to a field where he could practise fast bowling, running, or anything other than being buried in books.

Academic excellence was not the promised path to glory for him. No, his path was on a synthetic rubber track, from which he would launch his javelin until it landed in the history books and made him world number one. Pathirage was destined to carry Sri Lanka to the upper echelons of sporting glory.

Losing is not in Pathirage’s vocabulary for 2026. Since February, he has won all but one of the competitions he has contested. He is the only thrower this year and the fourth in history to breach the 92-metre mark twice in a season — rare in the javelin books — and the only Sri Lankan to win the prestigious Diamond League final, the island nation’s first Commonwealth gold medallist in 20 years and the only South Asian to win a medal at the inaugural Ultimate Championships this month.

Come Saturday, the 23-year-old from Kalutara will attempt to win his final title of the season — the Asian Games gold — and attempt to break the 92.97m Asian record en route to continental triumph.

“The biggest prize is winning Olympic gold for Sri Lanka,” a nonchalant Pathirage told Al Jazeera in an online interview after the Zurich Diamond League victory, which saw him cross the 92m mark for a record second time. Given his track record, the 6-foot-1-inch (185.4cm) phenom could very well make that happen too.

An Olympic gold would be a first for Sri Lanka, as many of Pathirage’s accolades have been. But an Olympic podium finish was first achieved by Susanthika Jayasinghe, Sri Lanka’s track star who won bronze in the women’s 200m sprint at Sydney 2000, before it was upgraded to silver due to a doping disqualification.

Like Pathirage, Jayasinghe found international success in the junior circuit before bagging major wins in the big league. Her legacy, however, was bittersweet, marred by political interference, alleged tampered drug tests and sexual violence by federal sports officials, and next to no support from Sri Lanka’s athletics federation. But it paved the way for young athletes like Pathirage to dream of a future as track and field’s biggest stars.

Pathirage is already paying his success forward. When well-wishers offered financial assistance to replace his javelins broken days before the Asian Games, he requested that the money be redirected to struggling athletes instead. After all, he was in their shoes not too long ago.

His main source of support has been the Sri Lankan air force, which Pathirage represents as an athlete, and a generous diaspora have helped fund his training, equipment and extensive international travel for competitions.

That no major international sportswear brand has signed Pathirage, despite him being world number one, speaks volumes about the European chokehold that overshadows success from South Asian athletes like Pathirage and Pakistani javelin thrower Arshad Nadeem.

“If you take athletes of my level, I’m the only one who doesn’t have international brand sponsorship,” Pathirage rued of the “sorry situation”, although he understands that Sri Lanka is a small market for sportswear giants. In comparison, European athletes who are nowhere near the top even in their region have sponsorship deals with brands like Adidas, Puma and Nike.

That the Sri Lankan diaspora has repeatedly stepped up to support Pathirage en route to sporting greatness reflects just how much his triumphs at this level mean to them.

They have followed him across the Diamond League circuit, cheering and waving the Sri Lankan flag, stepped in spontaneously to translate English to Sinhalese for media interviews, and waited patiently for an autograph after he’s bagged yet another gold medal.

Many were Pathirage’s age when they fled Sri Lanka during the devastating 1983-2009 civil war. For them, he is the future of a nation they never experienced, his translator Ranil Jayaneththi told Al Jazeera from Zurich, Switzerland, where the Sri Lankan businessman is now based.

“He’s the most exciting thing to happen to us since Susanthika,” said Jayaneththi, whose smile seemed permanent from the night before when he saw the javelin star in all his glory.

“To go through the history that Sri Lanka went through,” he paused before continuing, “it was sports that gave people hope.”

Meanwhile, his family has always been his pillar of strength, safety net and loudest cheerleaders.

“I wouldn’t be where I am without them,” Pathirage said of his parents and two siblings. “Right from when they let me pursue athletics full-time instead of academics till my early career, I owe them everything.”

Athletics is somewhat of a family thing; Pathirage occasionally mentors his younger brother in javelin, which he switched to after excelling in discus throw, the event their father contested decades ago.

Sri Lanka is not a sporting powerhouse, nor does it boast exceptional facilities, but it gave the likes of Pathirage and Jayasinghe a grassroots platform to springboard to global stardom.

Across the country, school- and regional-level competitions prepare younger athletes for the national stage under the guidance of local coaches, some of whom receive international training. Coaching and sports management are also offered at several Sri Lankan universities now.

Under the tutelage of Tony Prasanna, Pathirage’s throws have steadily progressed from the 60m range in 2019 to mid-80m figures more recently that have secured gold at the Asian Throwing Championships. He also competes regularly in Australia, home to a sizeable Sri Lankan population who fled the civil war.

It was there that Pathirage met Ella Wardlaw, an athlete representative who manages his competition schedule, media commitments and sponsorships.

“Rumesh is unstoppable; he’s been hungry for wins all season,” Wardlaw told Al Jazeera from Zurich. The Australian lawyer-turned-manager has seen Pathirage’s rise from an underdog nervously navigating the international stage to dominating it.

“He thrives on pressure, but he’s really in competition with himself a lot of the time.”

When asked whether the goal is consistency with his wins or 90m-plus throws, Pathirage said, “The goal is to improve on what I have achieved … My mindset is to stay a winner. I concentrate on achieving what I can.”

He is indifferent to the media hype that many of his competitors crave. “I’m only doing this interview because my manager said I have to,” he joked. Neither does he care for celebrity status. His humility is apparent in the low-key social media presence he maintains, the demure victory celebrations born of a performance that does all the talking for him.

What he really wants is to be a role model for future athletes in the cricket-crazy nation.

“I want to inspire the younger generation to see my success and know that other pathways await them,” said Pathirage.

When the 52nd season premieres on Saturday at the usual time, usual place, “Saturday Night Live,” with host Jalen Brunson (of the champion Knicks) and musical guests Katseye, will again make history as the longest-running sketch comedy and variety show on television.

But week to week — multiplatform 50th-anniversary celebrations aside — the entertainment institution that is “SNL” does not dwell much on its history, focusing instead on trying to earn laughs sketch by sketch, moment by moment. Even when alumni like Tina Fey or Will Ferrell show up, it’s usually in the service of something topical, like a political cold open for a very recent event or happening. “SNL” lives in the now, and that can be a blessing and a curse, like when you feel like you’ve seen the same cold open lampooning President Trump 15 times already. James Austin Johnson is a brilliant impressionist, but read the room, guys.

“SNL” is the rare show for which quality is beside the point. As creator Lorne Michaels has said to cast members like Tina Fey, “The show doesn’t go on because it’s ready; it goes on because it’s 11:30.”

That focus on effort over polish has, surprisingly, helped it survive. For every online hater who tediously comments that “SNL” hasn’t been good since the Dana Carvey era or earlier, there are enough of us stalwarts who will every week obsess about the future of “Weekend Update,” rate the monologue (sometimes harshly) and wait breathlessly at the start of every new sketch, hoping we’re about to watch an all-timer.

For those in that camp — who never give up hope that a great sketch is just a commercial break away — here’s what you can expect from the new season.

The first four episodes

Season 52 will kick off with Knicks point guard Jalen Brunson as the first guest host.

(Rosalind O’Connor / NBC)

New “SNL” episodes usually arrive in batches of three and then the show takes a break for a few weeks. For Season 52, not only was the first trio of hosts and musical guests announced but also the lineup for a Halloween episode.

In addition to Brunson, who might bring along famous friends like Mariska Hargitay or Taylor Swift, actor Dakota Johnson will host, with rock group Turnstile as the musical guest on Oct. 3. On Oct. 10, “SNL” will roll the dice a third time with comedian Shane Gillis, who did not fare too well the last two times he hosted. He’ll be joined by musical guest Rosalía.

The Halloween episode will be hosted by newly minted horror queen Inde Navarrette from the hit film “Obsession,” joined by musical guest Gracie Abrams.

Cast changes and new faces

Over the summer, cast member Chloe Fineman — who had a knack for impressions of celebrities like Timothée Chalamet and Melania Trump — departed the show after seven seasons. It won’t be long before we see her onscreen again: She’s been cast in Netflix’s upcoming Harlan Coben adaptation, “Myron Bolitar.” Also departing was writer Martin Herlihy, the second member of the Please Don’t Destroy video trio to exit, leaving only Ben Marshall, who’s listed as a featured player. Last season, Herlihy did a few self-hosted video segments that tended to run late in the show.

Bowen Yang departed midway through Season 51, while Chloe Fineman announced her departure in July. (Jason Armond / Los Angeles Times) (Michael Loccisano / Getty Images)

Bowen Yang extended his run on “SNL” as his star was quickly rising in projects like “Wicked” and the “Las Culturistas Culture Awards,” but left midway through Season 51. Unlike previous transitions between seasons, no one was cut from the show, and those who left stepped away on their own.

However, two new cast members are joining the show: Grace Reiter and Saidah Belo-Osagie.

Saidah Belo-Osagie, left, and Grace Reiter are the newest “Saturday Night Live” cast members. (Mike Klubeck) (Jill Petracek)

Reiter has already had a supporting role in Tim Robinson’s “The Chair Company” on HBO, and she stars in “Minimum Wage,” which started as a web series and is coming to Netflix in October for a 28–episode run. She was also the star of the very funny “The Hunger Games (But Better),” a low-budget re-creation of the series made over four days by a group of friends.

Belo-Osagie may not have as high as a profile in entertainment yet, but don’t sleep on her TikTok account, which has some great videos including “(POV) Your face card expired” and “Girl who’s secretly happy her neighborhood is gentrifying.” She’s also been in the web series “Abigail’s Divine Comedy,” written and directed a short film and has done work on the stage in New York.

What and who to watch for in Season 52

“SNL” tends to thrive in the run-up to national elections, and with the midterms upon us, the show has its pick of hot-button topics on the campaign trail, from the Iran war to gas prices to the backlash against data centers and AI billionaires.

Johnson’s impression of Trump is likely to be at the center of a lot of these sketches, but the show does well when he serves as a ringleader for characters like Defense Secretary Pete Hegseth (Colin Jost), Vice President JD Vance (Jeremy Culhane) and FBI Director Kash Patel (celebrity guest Aziz Ansari).

Jeremy Culhane as JD Vance, left, and James Austin Johnson as President Trump in a cold-open sketch.

(Lloyd Bishop / NBC)

Last season, Ashley Padilla emerged as a breakout star, carrying a heavy load of women’s roles after the departures of Ego Nwodim and Heidi Gardner. Even when she was giggling with Ryan Gosling because of a writers’ prank, Padilla was hilarious. She’s finally been upgraded to a repertory player and is likely to continue to play the lead in sketches featuring her grounded, emotionally shaky characters, some of whom have terrible haircuts.

Of the new featured players added last season, the two most likely to keep scoring are Culhane — who already has two great “Weekend Update” characters: Mr. On Blast and a masterful Tucker Carlson impression — and Veronika Slowikowska, who proved versatile whether she was portraying a “Guy’s girl” or a dryer with Sabrina Carpenter. Expect them both to be in more sketches this season.

Tommy Brennan, left, Jane Wickline and Ashley Padilla during the “Mom Confession” sketch featured in Season 51.

(Will Heath / NBC)

Marshall, the Please Don’t Destroy writer who joined the cast, has been fine as a utility player and straight man in sketches, but it’s hard to remember anything he was in last season apart from his role as Ron in “Heated Wizardry.”

Tommy Brennan and Kam Patterson both seem like they need to make their mark in sketches and do more than just perform as themselves in “Weekend Update” segments. Unless one or both of them is being groomed as a future “Update” co-host, time’s running out.

As for cast member Jane Wickline, who’s been described as “polarizing” but was also upgraded to repertory, we’re rooting for her. She brings musical talent, which the show needs plenty of, and her awkward vibes frequently add a different and unexpected dimension. An out-on-a-limb prediction: She’s going to have a great season.

What about Lorne?

Every discussion about the state of “SNL” must include a mention of how much longer the show’s steward, who is 81, will remain at the helm. This ongoing Lorne Watch, with predictions of his retirement and potential successors, began around Season 40 and continues. Many thought he’d exit at the end of Season 50, neatly capping an epic TV run.

That did not happen.

Creator Lorne Michaels has been at the helm of “Saturday Night Live” for much of its run.

(Jason Armond / Los Angeles Times)

So now the talk has shifted to what happens if Michaels’ run is interrupted because, you know, something happens to him?

The names suggested (and bet on) as potential replacements, should anything happen, continue to include producers like Steve Higgins; former cast members like Fey and Seth Meyers, who’ve stayed close to Michaels’ orbit; as well as Conan O’Brien and John Mulaney, all of whom seem like good comedic shepherds who could lead the show into its next era. Michaels himself has said publicly that Fey could “easily” do it. But, they all have their own careers and may not want the all-consuming grind that running “SNL” entails. It may take multiple people.

One outlier pick would be Kenan Thompson, the longest-running “SNL” cast member, starting his 24th season on the show this week. For sheer longevity, having been around for nearly half of “SNL’s” run, and because he’s probably not leaving anytime soon, Thompson might be the pick that makes the most sense.

THE Wanted singer Nathan Sykes is set to become a dad for the first time!

Taking to Instagram, the musician revealed his wife Charlotte is pregnant with their first child with a sweet photobooth video.

Nathan and Charlotte shared a video of themselves in a photobooth with an ultrasound strip to reveal the pregnancy news.

Charlotte captioned: “We’ve been keeping a little secret…Baby Sykes is officially on the way 🤍”.

The video – which saw Nathan cradle his wife’s bump and the pair pose for various snaps – confirmed baby Sykes is due in April next year.

Numerous fans and friends took to the comment section to congratulate the pair.

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Nathan and Charlotte tied the knot in 2025 after several years together.

They wed in an intimate North Yorkshire ceremony at St Mary’s Church, Birdsall, with just 61 guests in attendance.

The pair were first seen together in public photos in November 2018 and announced their engagement in December 2022. 

Nathan rose to fame in the The Wanted along with the rest of the boys in 2009 and stayed until the band went on “hiatus” in 2014.

The star once briefly dated Ariana Grande and they have a song together, Almost Is Never Enough, which he recorded after going solo.

While he has been with Charlotte, who is a HR Manager, for near a decade now – with the exact story of how they met not shared publicly.