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At a House Judiciary hearing on Wednesday, Atty. Gen. Pam Bondi was holding a document labeled “Jayapal Pramila Search History” that included a list of files from the unredacted Epstein archive accessible to lawmakers such as Rep. Pramila Jayapal (D-Wash.).

That means over the course of a year Bondi’s Department of Justice has made time to speak with Ghislaine Maxwell — the New York socialite who helped Jeffrey Epstein run his billion-dollar child-sex-trafficking operation — and it made time to surveil a Democratic lawmaker who conducts oversight as a member of the Judiciary Committee. But it has yet to meet with the victims of Epstein’s crimes who want to talk.

When she took office, Bondi promised us transparency. She didn’t promise we would like what we would see from her.

The general public’s awareness of Epstein’s heinous crimes came with political baggage. However at this point, the question we all should wonder is: How does redacting the names of the men who helped fund Epstein’s operation benefit either political party? It may be good for the rich and powerful men trying to avoid accountability, but it’s not exactly a campaign platform.

Yet here we are as a country, chained to the same vocabulary used during an election, so a conversation that should be about right and wrong is accompanied by poll numbers and analysis about the midterm elections. As if the Justice Department’s refusal to interview rape survivors is an inside-the-Beltway topic and not reflective of a larger moral crisis. We have seen Congress kept out of session to avoid voting on the release of the Epstein files; we have heard equivocation about whether Epstein was a pedophile. We know Epstein’s island was a place where evil resided.

The investigation, or lack of investigation, into Epstein’s fellow abusers should not be seen by anyone as a political quandary in which the object of the game is to keep your party in power. The fact that there is a Republican-vs.-Democrat divide on accountability for sex abuse reveals a national moral crisis. When the abuse of children is viewed through a partisan lens, how else can one describe this period in America?

Fifty years ago, when President Carter was tasked with healing the nation after the Watergate scandal, he told Americans in his inaugural address that he was leaning on his faith, and one prophet in particular.

“He hath shewed thee, O man, what is good; and what doth the Lord require of thee, but to do justly, and to love mercy, and to walk humbly with thy God?,” Carter said, quoting Micah 6:8. “This inauguration ceremony marks a new beginning, a new dedication within our government, and a new spirit among us all. A president may sense and proclaim that new spirit, but only a people can provide it.”

The Hebrew prophet Micah was from a rural area, not born into the wealth of the royal court. He was not being compensated by those who were. Instead, Micah reflected the voice of the people who were forced to live in poor conditions because of corruption. He described the actions of the morally bankrupt judges, political leaders and other elites in graphic, violent terms, condemning those “who hate the good, and love the evil; who pluck off their skin from off them, and their flesh from off their bones.”

This, he said, is what it is like being ruled by those who are not guided by what is good and what is evil, but rather what is most beneficial for themselves in the moment. When Micah spoke, it wasn’t about the latest poll numbers. His warnings about government corruption are not unique to any particular faith, nor are they married to any political party. They embody centuries of human history, a history that tells what happens to a society when power goes unchecked.

And be not mistaken, it was unchecked power — not any party affiliation — that provided Epstein and Maxwell with patronage. It was moral failure, not conservatives or liberals, that provided cover for their child-sex-trafficking ring.

So if for partisan reasons the abusers of children are not held accountable for their crimes, the language of politics fails us. The word for that is simply: evil.

YouTube: @LZGrandersonShow

It’s time to pay tribute to Birmingham High senior Henry Aslikyan, who makes his bid for a fourth consecutive City Section wrestling championship on Saturday night at Roybal. No Birmingham athlete has won four individual titles.

He has continued to get stronger, bigger and better from the time he arrived as a freshman. He’s been dominating the City lower weight classes while becoming a two-time state champion.

He’ll be competing in perhaps the toughest weight class in the state — 120 pounds. He’s a Michigan commit. There’s likely to be three state champions in that weight class in two weeks in Bakersfield.

Birmingham has already won City titles in boys’ and girls’ duals competition. This time he is qualifying for the state championships in Bakersfield and individual titles.

Adelaida Fernandez of Birmingham is trying for her third straight City title in girls’ wrestling. Greg Torosian and Arno Vardanyan are also seeking third titles for the Patriots in boys.

In the heavyweight division, Monroe’s Abraham Datte is a two-time City champion.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com.

Ryan Sickler is used to asking the question that people are afraid to ask: “Is there anyone here who has ever actually died and come back and would be comfortable talking about it in front of all of us?”

It’s not your typical comedy show crowd work but it has profound results. During his special “Ryan Sickler: Live & Alive” released on YouTube in October, a woman in the audience talked about a near-death experience as a child where she rode her bicycle in front of a neighbor’s station wagon. But Sickler pointed out that this remarkable level of candor in the audience is something he continues to marvel about. In fact, he said they did two shows the night they taped his special and during the second show two people in the crowd said they had near-death experiences.

“When I ask the question, I know there’s someone in the crowd that’s like, ‘There’s nobody in here that’s died and come back,’” Sickler said. “So now they’re all very excited to listen too. Like, what happened to this lady, or what happened to this guy? You know, there’s been some wild ones, some real funny ones out there too.”

Given how many comedy specials are being released on various streaming platforms, he says that “we have lost the specialness of the special.” But Sickler said since coming so close to death and being able to talk about it with candor and relatability, he is still calling his latest self-produced YouTube special, special. It now has more than 1 million views on YouTube. Sickler has been on the comedy scene for more than 30 years and released his comedy special “Lefty’s Son” in 2023. He also hosts the “HoneyDew Podcast.” His comedy career has often incorporated his lived experience with a rare blood-clotting disease called Factor V Leiden that almost killed him.

But these days, he’s grateful to be alive, to have been able to wake up when it looked like he might not, to watch his daughter continue to grow up and the laughs along the way. Sickler has long been candid about his chronic health issues with his comedy but he has found particular meaning in doing crowd work when he performs, that talks about death and what it means to live.

The Times recently spoke with Sickler about his special and how he thinks about his sense of health, humor and mortality.

Ryan Sickler in the studio where he films the “HoneyDew Podcast.”

(Al Seib / For The Times)

What did you want to say this time around in your new special?

My first special was something that was a bit of a hybrid of stuff that had been out there and around, but I didn’t own it. It was out there on people’s platforms. They’re making the money off of it. And so I did a bit of, “Let me get this stuff on my channel where I can control it.” And then the other part of that special was becoming a new single dad, all those things this time, specifically, I really just wanted to talk about what had happened and the results after that. I follow these comedy accounts and in October, there were 31 stand-up specials that hit between Netflix, Hulu, YouTube. November was 30. This month was a little slow because the holidays, but it was still at 18 the last time I checked. So I don’t think there’s anything special about stand-up specials anymore. You’re in an environment now where there’s a stand-up special a day, people are doing that with podcasts. There’s so much content going on out there, and I feel like a lot of it is the same. So I this time wanted to just take something that happened very personal to me, this incident, and then tell the story, not only behind it, but what happened after and I was really proud of being able to just focus on that and make that into this special instead of just my observations on this or my thoughts on that. I’m a storyteller and I really think that’s what art is.

When did you realize you had the courage to write about this near–death experience?

I know I had the courage to write about it a long time ago. When I’m making people laugh at my father’s funeral and things like that, I knew I was comfortable being able to take on the material. But what I didn’t know was, could I make it funny? Could I make it relatable? Could I make this one thing that happened to this one person on this rock in outer space matter to anybody and make them care? Because it’s not like we all had this happen to us. This is just one thing that happened to this one dude. So that was really what I was more worried about, is like, can I get this message across and make it relatable, funny and entertaining at the same time? Which is why I threw in those really expensive light cues.

It can be very challenging to hear about these traumatic [near–death] experiences that people have had. How do you absorb that and not absorb it too much?

I’ve been doing this show for so long that it does start to wear on you a little bit hearing a lot of the trauma. So I created a new podcast a couple years ago called the Wayback, which is just fun, funny, nostalgia. So that also for me, was like, let’s not dig into the tears and let’s just laugh about growing up. So that was one way where I could still keep it in my lane and do my job, where I alleviate that a little bit. But the other thing, and I make fun of myself a little, is I’m like the paramedic at the party now. I’m the guy that’s like “You think that’s bad, wait until you hear this.” “This one guy …” “This one lady …” You know what I mean? So I’ve almost become sort of their voice, and I have absorbed it in a way that isn’t so negative, where I carry it home with me. I always forget the quote how it’s worded, but it’s something to the tune of, if we all stood in a circle and threw our problems in the middle, we’d all take our shit right back. It’s like you know what, that’s what you’re dealing with? I’m gonna go ahead and take mine.

How is hearing all these stories and connecting with the crowd and fans in this way [about near–death experiences] changed how you think about your own sense of mortality?

Even with my close call, like, that one angered me, because you start to think about things. You never know how you’re really going to go. You might have an idea if you’re getting older and cancer runs in your family, whatever, but the fact that you could go to a hospital for a simple surgery, they don’t listen to you, everything’s there in your paperwork. You’re your own advocate. You’re doing all the right stuff by yourself, and you’re among professionals, medical professionals, not Yahoos, and you can still have someone else make a mistake and your life is gone. That started me thinking a lot like, “Oh man, for no fault of my own, I could also be gone.” So I go day by day, and I try to be happy day by day. And I’m not going to lie, I also like to know I got a little something tomorrow too.

Do you think that incorporating death and near–death in your comedy helps people work through their own feelings about death and grief?

I only say yes to that because the amount of emails I get, the amount of feedback we get, the amount of guests that still continue to show up [to support] the Patreon. I’ve definitely found, I would say, a purpose in my people. If you’re someone saying you’re a jerk for laughing at this lady talking about cancer, we’re not laughing at her cancer. We’re laughing at something, some light that she found in the darkness of this and trying to have a moment here together, all about, “Hey, there’s some positive ways to look at things at your lowest.” So I know it’s helped people. I mean, we have, over the years, probably thousands of emails now. We have people telling us how much it’s helped. And I mean just through podcasting, I found out I have this blood disease. I was 42 at the time, and already been podcasting. There’s a lady I went to high school with. She’s like “Ryan, my son is 17. He started clotting.” I said, “Go ahead and check for this.” He listens to the podcast. This kid has it. I said, “Well, bad news. It’s genetic.” Now the whole family’s got to get tested. And if you have it from one parent, it’s not great, but having it from two is bad. The whole family gets tested. The parents have it. She’s got it from both her parents. So I can’t get over the fact that a woman I knew when we were children, 35 years later is like, “Hey, that thing you’re talking about on your podcast, my kids, my family, we all have it.” And then I’ve talked about another disease I also have, called Charcot-Marie-Tooth disease, which is CMT. And from bringing that up, people hit me up on that like “I have it, no one ever talks about that.”

What have you found to be one of the positives — besides surviving — of your near–death experience?

Gosh, so many. I have a child, so getting to see her grow and really taking care of my health and things. Not that I wasn’t before, but just I dove in even deeper. I went and got what’s called a gallery test for prescreening for cancer. I started doing all these blood works and like, “Let’s go find out everything you know, because I didn’t find out that I had this blood disease until I was 42 when I clotted.” I’m living my whole life, not even knowing I have this thing and and if I don’t clot, there are plenty of people out there that live to 100 years old and have it. It’s really made me appreciate life and trying to take things day by day. I also was living in a little single-dad pad at the time. We had no central air. We had tandem parking. We were above dumpsters. Our laundry was outside in a room with quarters. And when I got home — I’m still on a walker — and I was like, “What are we doing? We’re going to die without central air? Are we going to die with a bucket of quarters on the fridge? No more.” And so I moved my home, I moved my studio, I did all these things that are, like, the biggest thing you can do in life. We’re going to roll the dice, scared money don’t win, and we’re just going to go for it. Also, as a comedian and anybody in entertainment will tell you, a lot of times you work scared, you hold that money and you wait until the next thing comes. And also, as a single parent, you know we got to budget. And I was like, no more. We’re not going to go out and buy 10 Porsches. We’re going to be responsible. But I was on point with let’s go get a living will and trust. Let’s make sure we have that life insurance policy. Let’s make sure we have all the proper paperwork and stuff done before we do anything like go on a vacation, you know, let’s get this done now and get it done proper.

What do those conversations look like, if you have them at all, about encouraging your male friends to go to the doctor or encouraging them to take care of themselves, physically and emotionally?

I would say the conversations go something like this. My younger brother is like, “Hey, man, I just went in for a test, and they’re telling me I got to have an old school triple bypass,” and then that’s what we all get tested. “Hey guys, I found I got a blood disease.” “Oh man, we all better look into it now.” That’s usually how it goes. I don’t know many men who are proactive. There are a few of us these days. But it’s usually something horrible happens and then we’ll be proactive about everything else.

Do you have male fans who also say “I [saw] your special … I went to your show, and it made me go [to the doctor]”?

Yeah, but I’m saying, though, it still took them to come see a professional clown to get them to go to the damn doctor. I actually have been very good about going, because everyone in my family died. So I’ve been proactive in the sense that I go get two physicals a year. I’ve been doing that since my 20s. I always tell my doctor, if I can go buy expensive sushi, if I go buy weed, if I go buy all these things, I can put money into myself here and come see you a second time and pay for all that. So I do two physicals a year, and I’ve been doing that forever. But I’ve never done any sort of like gallery test. And now we’re in our 50s, so we got to go get the prostate and all that. That’s when you start hearing about that stuff. There’s a lot of ignorance that goes into it as well. I just had a guest here on the “HoneyDew” and said he didn’t go to a doctor or anything for over 20 years because he was just scared of what they were going to tell him. He was scared to get the bad news. You can kind of get the bad news and you could turn that into good news. It doesn’t need to be deadly news.

How do you know when you’ve been too open?

It usually tends to be a personal thing where someone’s like, “I don’t really appreciate you bringing that up.” So I don’t anymore. I’m always cognizant of [saying] like, “Hey, would it be cool if I talked about this or whatever?” I feel like the question you’re asking me would have been great for me just before I started, like, the “HoneyDew” and stuff because this is what I really want to talk about. Everyone wants to talk about the best and bring their best and I just really do want to hear about, you know, the trauma bond. I want to hear about the worst times in your life. I want to know because, honestly, that tells me so much more about you than you verbally talking about you. You know who you were in those moments, how you reacted, how you behaved, how you’ve adjusted. Those things really end up defining who you are, and that’s more what I want to know about. I don’t want to know your best polished version of yourself.

Who: Real Madrid vs Real Sociedad
What: Spanish La Liga
Where: Bernabeu Stadium in Madrid, Spain
When: Saturday, February 14, at 9pm (20:00 GMT)
How to follow: We’ll have all the buildup on Al Jazeera Sport from 17:00 GMT in advance of our text commentary stream.

Trent Alexander-Arnold’s Real Madrid career has not got off the ground yet, but fit again after injury, the England right-back could be crucial for the Spanish giants in the second half of the season.

With Alvaro Arbeloa’s side still taking shape following the coach’s arrival in January, Alexander-Arnold has the chance to make himself a key part of the club’s battle for silverware.

Pellegrino Matarazzo’s in-form Real Sociedad visit the Santiago Bernabeu on Saturday in La Liga, in what promises to be an enticing clash.

Arbeloa’s Madrid are looking to move two points clear of Barcelona and take the lead in La Liga before the Catalans visit Girona on Monday.

Al Jazeera Sport takes a look at Saturday’s headline fixture in La Liga.

Will Alexander Arnold start for Real Madrid against Sociedad?

Former Liverpool full-back Alexander-Arnold, who came off the bench last weekend as Madrid beat Valencia, could potentially start for the first time since December 3.

After a decent early showing for Madrid at the Club World Cup last year, hamstring and thigh injuries have stopped him from settling in, limiting him to 12 appearances across all competitions this season.

“After [he’s had] a long time out, we will proceed with caution,” said Arbeloa after Alexander-Arnold’s return, with Spanish newspaper AS reporting Madrid’s aim is for him to start against Benfica in the Champions League playoff round on February 17.

Even if Arbeloa uses veteran Dani Carvajal or youngster David Jimenez to start against Real Sociedad, the expectation is for Alexander-Arnold to get more crucial minutes under his belt.

How are Real Sociedad faring in La Liga this season?

Real Sociedad are unbeaten in nine matches but are eighth in the table – 14 points off fourth place and the crucial UEFA Champions League qualification spots.

Matarazzo’s side did, however, defeat champions Barcelona last month and have one foot in the Copa del Rey final after a semifinal first leg win at rivals Athletic Bilbao this week.

Sociedad are also coming off a 1-0 win at Basque Country rival Athletic Bilbao in the first leg of the Copa del Rey semifinals.

Will Vinicius and Mbappe’s dinner give Madrid food for thought?

Real Madrid is counting on a team-bonding dinner reportedly paid for by its biggest stars to boost its late-season pursuit of the La Liga and Champions League trophies.

Vinicius Junior and Kylian Mbappe paid the bill at the restaurant in Madrid on Tuesday, midfielder Dani Ceballos told reporters. The tab ran in excess of 1,000 euros ($1,100), according to accounts by Spanish media.

Vinicius posted a photo of the entire squad during the dinner near the city centre in a fancy location that features an “Art Dining Club.”

Fans waited outside the restaurant to try to talk to the players after the dinner, which went well past midnight.

Coach Alvaro Arbeloa and his assistants were not part of the dinner, Spanish media said.

The show of unity came a week before Madrid faces Benfica in the first leg of the knockout playoffs of the Champions League. The team dropped out of the top eight that automatically qualified for the round of 16 after a 4-2 loss at the same as Benfica in the final round of the league phase.

Defender Raul Asencio told media that after the dinner, the team was “very united.”

Why has Real Madrid struggled this season?

Madrid went through turmoil at the end of last year, with some players reportedly not on the same page with coach Xabi Alonso.

Under Arbeloa, Madrid was eliminated by second-tier Albacete in the Copa del Rey round of 16, and lost to Benfica in the match that relegated the team to the Champions League’s knockout playoffs.

With the bad-tempered Bernabeu crowd on their own team’s backs in recent weeks, the chance to move top of the table could settle the natives.

How is the La Liga race shaping up for Real Madrid and Barcelona?

Madrid has won seven in a row to be one point behind leader Barcelona.

Barcelona will look to win its fourth in a row in the league against a Girona that was in 12th place and was winless in its last three matches.

Barcelona is coming off a resounding 4-0 loss to Atletico Madrid in the first leg of the Copa del Rey on Thursday, when it conceded all goals in a disastrous first half.

It had won 17 of its last 18 matches in all competitions before the defeat. The last setback had been losing 2-1 at Sociedad in the league last month.

Third-placed Atletico will face lowly Rayo Vallecano on Sunday, while fourth-placed Villarreal is at mid-table Getafe.

What happened the last time Real Madrid met Sociedad?

Los Blancos were 2-1 winners against Sociedad in September’s reverse fixture in La Liga.

Kylian Mbappe and Arda Guler scored either side of Dean Huijsen’s sending off in the first half.

Mikel Oyarzabal’s 56th-minute penalty offered the home side hope, but they were unable to further make the most of their numerical advantage.

Head-to-head

This is the 184th meeting between the teams, with Madrid winning on 103 occasions and Sociedad claiming the spoils in 38 of the contests.

The first fixture was played in April 1905, with Madrid winning the Copa del Rey meeting 3-0.

Real Madrid team news

Mbappe trained separately from the squad on Thursday because of a knee issue and became doubtful for Saturday’s game.

He had already been held to gym work on Wednesday. The club did not immediately give any details about his condition.

Vinicius was set to be back with Madrid after missing the previous league game because of a yellow card suspension, but Jude Bellingham will remain sidelined with a hamstring injury.

Predicted Real Madrid starting lineup (4-3-3)

Courtois; Alexander-Arnold, Asencio, Huijsen, Carreras; Valverde, Tchouameni, Camavinga; Brahim, Mbappe, Vinicius

Real Sociedad team news

Brais Mendez is suspended for the trip to Madrid, while Takefusa Kubo and Unai Marrero are both absent with hamstring and facial injuries, respectively.

Arsen Zakharyan, Ander Barrenetxea and Luka Sucic have slight niggles and face late fitness tests.

Predicted Real Sociedad starting lineup (4-2-3-1)

Remiro; Odriozola, Martin, Caleta-Car, Gomez; Gorrotxategi, Turrientes; Marin, Soler, Guedes; Oyarzabal

The gothic village of Haworth in West Yorkshire is home to the Brontë Parsonage Museum where Emily, Charlotte and Anne Brontë penned their classic novels including Wuthering Heights and Jane Eyre.

A charming gothic British village, brimming with independent shops and a cosy atmosphere, is ‘well worth a visit’. This ‘mysterious’ spot was once home to the Brontë sisters, including Emily, the author of the classic novel Wuthering Heights.

Emily, Charlotte and Anne Brontë are among Britain’s most revered literary siblings. As the new film adaptation of Wuthering Heights premieres in UK cinemas tonight (February 13), the village of Haworth in West Yorkshire makes for an ideal weekend getaway.

With its unique brooding character, Haworth overlooks the moors where the new film was shot, transporting visitors back in time with its cobbled streets and historic alleyways. Some of these cobbled lanes even lead to an ancient church and cemetery where novelists Emily and Charlotte Brontë are laid to rest.

Anne Brontë, the youngest sibling, is also buried at St Michael & All Angels Church cemetery in Haworth. The three sisters wrote seven novels here, including Wuthering Heights, Jane Eyre and The Tenant of Wildfell Hall.

The village’s main street boasts ‘absolutely wonderful’ establishments, including shops with a mystical witchy vibe, a ‘heavenly’ sweet shop, and numerous unique gift and book stores to explore, reports the Express.

Food and shopping

The ‘magical’ establishments dotted throughout Haworth offer a gothic atmosphere, whilst the village is surrounded by stunning moorland and countryside, near to where the latest Wuthering Heights film was shot.

Spooks of Haworth functions as a ‘spiritual emporium’ in the village, selling crystals and gifts whilst offering tarot card readings. It first opened its doors in 1983 in Haworth, the heart of Brontë Country.

One visitor described the establishment as ‘magical, mysterious, and totally wonderful’ located in a ‘beautiful gothic village, well worth a visit’.

Another ‘fabulous little shop’ is The Cabinet Of Curiosities in the village, which one recent guest called a ‘little piece of heaven’, reviewing this treasure trove as ‘so interesting’.

“Every detail in the shop was very well presented, down to wrapping. It was like an adult sweet shop, of smelly stuff and other treasures”, they wrote.

The Haworth Artisan Market also features prominently amongst the village’s attractions on TripAdvisor. Despite only running one Sunday each month, it draws significant numbers of visitors and residents.

To capture the Wuthering Heights atmosphere, there are several must-see locations in the area:

Haworth Moors

Exploring the Haworth Moors, the setting for Wuthering Heights, can be done on foot or alternatively, aboard the historic Keighley & Worth Valley Railway. This heritage railway offers a journey on vintage steam locomotives.

One can even indulge in afternoon tea on board, as one reviewer who embarked on this rail journey three months ago with an all-day rover ticket attested. They described it as a ‘very enjoyable day and highly recommended’.

The same reviewer of the Keighley & Worth Valley Railway shared: “Just had the traditional afternoon tea experience, absolutely blown away. Fantastic food, excellent service, in short a really brilliant day, when I felt I got full value for my money.

“There is a nice selection of sandwiches, meringues/ macaroons and large scones with cream and jam.”

Holdsworth House – an ideal place to stay

This stunning four-star hotel is a “Jacobean manor built in 1633, set just outside Halifax in West Yorkshire”.

Situated a mere 20-minute drive from Haworth, the Holdsworth House website describes it as a “historic, quietly grand house” that provides a “calm, atmospheric base for visiting the Brontë Parsonage, Haworth itself and the wider landscape of Brontë country that shaped Wuthering Heights”.

Low Row, Richmondshire

Stone-built houses and sweeping countryside vistas served as the backdrop for the new film. The area is surrounded by countryside, offering the ideal setting for ramblers seeking a scenic route through the Dales, with the cosy Punch Bowl Inn waiting at the end – where you can savour a pint or a cup of Yorkshire Tea.

Top Withens, West Yorkshire

Devotees of the novel and films will want to include this location on their route, as the derelict farmhouse is believed to have inspired Wuthering Heights. Beginning from St Michael’s Church in Haworth, this walk leads you through Penistone Hill Country Park before reaching the Brontë waterfall and bridge – an ideal spot for photographs.

Swaledale

As one of the principal dales featured on screen, Swaledale’s limestone valley, stone barns and open moorland serve as the setting for numerous key exterior scenes. Today, it’s a sanctuary for slow travellers, providing tranquil riverside walks, historic mining remnants and picture-postcard villages such as Reeth (which acted as a production base and is anticipated to appear in or around multiple scenes).

Arkengarthdale

Also identified as a significant filming location, Arkengarthdale delivers rugged valley vistas and remote moorland backdrops that feature in various exterior sequences. Its quiet lanes, high moors and sense of remoteness make it perfect for visitors wanting to experience the raw, windswept landscapes that characterise Wuthering Heights.

Brontë Parsonage Museum Furthermore, on the edge of the countryside leading towards the moorland lies the Brontë Parsonage Museum – an absolute must for enthusiasts of the Brontë sisters’ literature, as this was the family home throughout the 1800s.

According to the museum’s website: “We have the largest collection of Brontë items in the world, offering fascinating insight into the life and times of Yorkshire’s famous literary family.”

Yorkshire’s historic towns

Byway’s has also developed a Historic Towns in Yorkshire trip, making it straightforward for visitors to discover these landscapes for themselves, journeying by rail through cities and market towns such as York and Skipton, with connections to the Yorkshire Dales and the broader Brontë Country.

Built around picturesque train routes and leisurely travel, the four-day programme offers a convenient entry point for devotees eager to discover the moors and locations associated with Wuthering Heights. Prices begin at £468 per person for an unforgettable four-day adventure.

Las Vegas is famed for its glamour and luxury, but there are remarkably affordable experiences and bucket-list encounters that don’t break the bank once you step into Sin City

I lay down on the table, bashed my chosen intensity and music choice into a tablet, and two extendable metallic arms started to twitch. And then they swivelled and swooped down on me. Within minutes, my worries had melted away.

I was not involved in some strange AI torture chamber. I was, in fact, in Las Vegas. Putting a futuristic massage robot through its paces. Aescape Robotic Massage Experience at Qua Spa in Caesars Palace is the Strip’s first AI robotic massage ($44 for 15 minutes) and delivers impressively good back and shoulder massages.

Still, I watched beadily as my robot masseuse worked each touchpoint, not quite sure whether to fully trust the machine. Certainly, it was different from a typical massage and one I won’t forget in a hurry. But I wasn’t just in Sin City to be pummelled by an android in Caesars Palace. I was there to discover if it really was possible for the Entertainment Capital of the World to offer serious bang for your buck.

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Las Vegas is notoriously expensive, with its iconic Strip serving as the backdrop, towering mega resorts lining the vibrant streets and the catalogue of luxury casinos that buzz with excitement. Not to mention all the extras of America’s playground, thanks to its around-the-clock nightlife, remarkable entertainment venues, famed attractions and celebrity restaurants.

Yet, among its dazzling scenes, there’s a lot more to Las Vegas than first meets the eye, with bucket-list encounters and remarkable experiences that don’t break the bank, and where you’d only ever appreciate in the Nevadan. My initial encounter with Las Vegas’ sheer magnitude came as I checked into the five-star Vdara Hotel & Spa, situated in the heart of the city and boasting 1,400 suites. My room ($131 per night + tax) was just as impressive as its towering scale, with a kitchenette, a generous living area, two TVs, and a stylish bathroom complete with a freestanding bath and a cosy cloud-like bed that helped keep jet lag at bay. Its panoramic windows, stretching across the width of the suite, were a highlight, allowing me to admire the iconic Strip, day or night, against its mountainous desert backdrop.

For two nights, I stayed at the luxurious Resorts World Las Vegas, comprising over 3,500 rooms across three of Hilton’s brands, Hilton, Crockfords, and Conrad. I checked into a sprawling room at the latter ($184 per night) with a sleek bathroom that had an enormous rainfall shower and carefully curated furnishings, including a king-sized bed, that felt like a home away from home. While it’s farther from the Strip, I was still able to marvel at the dazzling city skyline and enjoy a quieter night’s rest. It’s easy to spend time wandering the vibrant streets of the Vegas Strip, soaking up the lively ambience and themed establishments that transported me to Paris, New York, and Disneyland. But beyond the glitz, I explored the desert surrounding the city on a guided hiking tour through the Valley of Fire with Love Hikes ($129 per person).

I was instantly awestruck by the dramatic orange rock formations, miles of golden floor and towering valleys that made up this striking landscape. It felt as if I was walking through a Hollywood film set in the state park, a far cry from the casinos, but just a few hours’ drive away.

In Las Vegas, it’s not all casinos and Adele residencies. In the Arts District, you’ll find colourful graffiti adorning the streets, which are lined with antique shops, art galleries, coffee joints, and eateries, including the mouthwatering Good Pie, where I devoured a Detroit-style pepperoni pizza. For a reality-altering experience, head to Meow Wolf’s Omega Mart at Area15, a fun immersive gallery filled with quirky art installations, including a surreal supermarket. The store is stocked with unusual products, from butter-freshening spray and tattooed toy chickens to egg carton sliders. Open the right hidden fridge door and you’ll find yoursef led to otherworldly realms… Vegas is also brimming with history. At the Mob Museum (from $34.95pp), the rich stories of organised crime and law enforcement in the area are explored, while at The Neon Museum (from $25pp), you’ll have to squint to take in the splendour of old casino and business signs.

As expected, the nightlife was extraordinary. Music seeped from buzzing bars, including at Ole Red, where I listened to a live country band before admiring the Strip from their rooftop terrace.

On another night, I attended THE PARTY at Superfrico in The Cosmopolitan ($150), where I watched an intimate, immersive cabaret-style show featuring skilled circus performers from Spiegelworld and hosted by Laurie Hagen. It was a fun-packed evening like no other, where I was also treated to a three-course Italian-American meal and a welcome drink, all included in the price. It’s easy to find somewhere to grab an affordable cocktail, including during happy hour at House of Blues at Mandalay Bay, but Fremont Street in Downtown Las Vegas was by far my favourite spot. The pedestrian-only area blew me away as I gazed at the 1,500-foot LED ceiling screen, which displayed their renowned Viva Vision Light Show, and wandered around listening to free live music from three different stages.

It’s known as ‘Old Vegas’ for its high-energy party atmosphere and affordable drinks, which is loved by Brits and Aussies – and it’s easy to see why. Another highlight was taking a ride on the iconic High Roller at The LINQ during their happy half hour ($60), which offered breathtaking views across Vegas and its never-ending array of dazzling lights, along with unlimited drinks. But its nightlife doesn’t just revolve around partying into the early hours. One evening, I took to the sky during a Maverick Helicopter ride ($139pp), gliding over the glistening Vegas Strip with incredible views of the notable Sphere, Caesars Palace and The STRAT. It was unbelievable and definitely a bucket-list experience.

Another moment that left me speechless was witnessing the world-renowned Fountains of Bellagio. I was mesmerised by the free fountain show, set to music, that soared up to 460 feet and across the 8.5-acre lake in front of the Bellagio resort.

Inside the five-star Bellagio, which sits centre stage along the Strip, is the famous Conservatory & Botanical Gardens. This is a free attraction open to everyone, beautifully designed and decorated with a different theme five times a year.

I visited during its Lunar New Year, with hundreds of fresh flowers, trickling water features, various sculptures suspended in the air and colourful lanterns. The Bellagio resort is also home to one of the world’s biggest chocolate fountains. The food scene in Vegas was nothing short of perfection, as I was treated to an array of flavours from Japan and Mexico. One of the highlights was eating at celebrity chef Roy Choi’s Best Friend bar and restaurant. It was a shop-style bar with a main restaurant where I sampled sharing-style dishes of tacos, BBQ, shrimp, and Korean wings.

I also dined with locals at Tacos El Gordo, where I had pork, beef, and chicken folded tortillas (from $4 each) before devouring a mouthwatering tasting menu of Italian dishes at LAGO by Julian Serrano. Elsewhere, I sampled a selection of innovative Japanese dishes at Kusa Nori, from sushi, seafood, sashimi, nigiri and robata meats – it was nothing short of showstopping, with smoking plates and melting slices of tuna. On the last night, I sat down for a sensational meal at High Steaks, with oysters, crab, a melt-in-the-mouth filet mignon, and their signature Tomahawk.

After a thrilling five days and experiences I’ll never forget, I can only describe Las Vegas as wild! It blew me away with its atmosphere that captivates you the moment you touch down in the Nevada city.

I found that you can absolutely make it affordable, pop $20 in the slot machines without a win, and still have the most unbelievable time in Sin City. Take advantage of the happy hours, wander around the city of lights, watch a show with dinner, and explore the desert – there’s no need to miss out on experiences or its vibrant nightlife this city has to offer. The party really is wherever you want it to go.

Book it

Resorts World hotels has three hotels in Las Vegas:

• Hilton – Starting from $154 per night
• Conrad – Starting from $184 per night
• Crockfords – Starting from $324 per night

A standard Studio King room in Vrada costs $131/night + tax. Return flights from London Heathrow to Las Vegas cost from £423 with Virgin Atlantic. Visit the Las Vegas website for more information.

Do you have a travel story to share? Email webtravel@reachplc.com

This picturesque fishing village has been hailed as one of the prettiest in Cornwall, offering unspoilt coastal views and traditional coastal village charm without the touristy crowds

Cornwall boasts a hidden treasure which genuinely appears untouched by the passage of time.

Surrounded by breathtaking landscapes and brimming with quintessential Cornish character, this South Cornwall fishing village ranks amongst the region’s most remarkable destinations.

Dubbed by Secrets of Cornwall as “a great secret frozen in time”, this small harbour village sits magnificently at the base of a steep, imposing valley that opens onto the magnificent Veryan Bay.

Regarded as the jewel in the crown of Cornwall’s Roseland Peninsula, this seaside village offers classically Cornish vistas, yet remarkably remains free from the typical tourist hordes.

The late Sir John Betjeman – Poet Laureate and famously the champion who rescued St Pancras Station from demolition during the 1960s – once lauded this small hamlet as “one of the least spoiled and most impressive of Cornish fishing villages”, and it’s fair to say Portloe has thoroughly justified such praise.

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Famous for its rugged coastline, golden beaches, picture-perfect villages and rich maritime heritage, Cornwall is one of the most-visited corner of the UK. Sykes Cottages has a large number of holiday homes to choose from, with prices from £36 per night.

Timeless Cornish treasure

The village takes its name from the Cornish ‘Porth Logh’, meaning ‘cove pool’ – an apt description reflecting its scenic setting within a cove encircled by striking hillsides.

This naturally protected location secured its position as a thriving pilchard fishing harbour throughout the 17th and 18th centuries.

In fact, until the 20th century, more than 50 fishing vessels worked from the village’s sheltered cove harbour, a figure that has since plummeted to just two.

These remaining active boats continue their trade, catching lobster and crab which is subsequently sold to the village’s two establishments – The Lugger and The Ship Inn.

Regarded as amongst Cornwall’s most charming villages, Portloe represents a genuine hidden treasure, untouched by time’s march and contemporary development, reports Cornwall Live.

The precipitous valleys surrounding the village have ensured Portloe’s immunity from urban expansion throughout the years, leaving the settlement and its structures virtually unchanged since their original construction during the 17th and 18th centuries.

As with much of Cornwall, Portloe’s history is intertwined with smuggling, with French brandy serving as the primary illicit cargo trafficked through the village in an attempt by residents to bolster the hamlet’s declining fishing industry.

Famous connections

Portloe offers a genuine retreat from Cornwall’s renowned summer throngs, providing merely a picturesque historic harbour and a modest beach which reveals a small expanse of sand at low tide – its picture-perfect settings undisturbed by tourist bustle.

The village’s pristine charm has also made it a sought-after filming location through the years, notably featuring in Forever England (1935) starring John Mills, Treasure Island (1949), The Camomile Lawn (1991), and more recently in Richard Curtis’ rom-com smash hit About Time (2013), the BBC’s Wild West television series, and Irish Jam (2006).

What to see and do in the picturesque coastal village

Visitors shouldn’t miss Portloe’s two most celebrated establishments – The Lugger hotel and The Ship Inn.

Positioned right at the crown of the harbour slipway, The Lugger offers diners the chance to savour freshly caught lobster, crab and fish whilst enjoying unrivalled vistas of the Cornish coastline.

Steeped in Portloe’s history, The Lugger was formerly a notorious smuggler’s hideout, with its innkeeper even meeting his fate at the gallows during the 18th century for trafficking French brandy.

For those preferring a valley-facing outlook and a more traditional pub ambience, the much-loved Ship Inn beckons – originally a 17th century fisherman’s dwelling that remains adorned with nautical memorabilia. Offering delectable dishes, The Ship Inn has built its reputation on fresh seafood whilst also catering to fans of more conventional pub classics.

One Tripadvisor review of this stunning village reads: “One of those hidden treasures that we love. Tucked away and not easy to find, but so well worth the trip. There is no beach to speak of, this is still very much a fishing village. One hotel, one pub, lots of fancy pants second homes and a handful of old fishing boats plying their trade. A great place to start a section of the coast path also. Or just sit and be, and let the day drift by.”

Another delighted visitor remarked about Portloe: “Lovely, timeless location, where they still winch small fishing boats up on the beach. The only other place I know of like this is Cadgwith Cove on the Lizard peninsula. Simple and unspoiled – thankfully not inundated with tourists like Polperro. There are beautiful clifftop walks to enjoy, or you can just sit and listen to the waves lapping on the shore.”

There’s precious little else to occupy yourself with in this picturesque Cornish fishing village beyond eating, drinking and soaking up the spectacular coastal vistas – and quite honestly, we can’t imagine a more perfect way to while away your holiday hours.

If you’re reading this review of Gore Verbinski’s maniacal farce “Good Luck, Have Fun, Don’t Die” in newsprint, congratulations on being a Luddite.

But if you’re reading it on a smartphone, then you’re one of the suckers that Sam Rockwell is hoping to reach when his unnamed time traveler barges into a late-night Los Angeles diner screaming, “I am from the future and all of this goes horribly wrong!” The patrons pause scrolling to glance at this unhinged, unwashed man wearing a crown of computer wires wrapped around his head like an IT messiah. Then they get a good look at his shoes when he stomps on their tables, kicking cheeseburgers as he tries to make these regular folks engage with the tech-pocalypse he swears is coming.

It’s a sermon we’ve heard plenty of times before and possibly even delivered ourselves. Coming from the ever-charismatic Rockwell, a lecture to stop wasting our lives online sounds no more insurmountable, only more immediate.

Half of the world will die, he foretells. The other half will be too distracted to notice. That is, unless a handful of strangers join him right now, right this moment, to fight for humanity’s cerebral freedom. Unsurprisingly, volunteers don’t raise their hands. (The one eager guy who does has failed him too often in other scenarios.) But Rockwell’s time traveler — he really is one — is used to a firewall of resistance. He’s given this speech at this diner 117 times. Some combination of the 47 people in it is fated to succeed.

That opening scene sounds as if an AI merged “The Terminator” with “Groundhog Day.” True, Matthew Robinson’s funny, savage and surprising script doesn’t downplay its inspirations. (He even lets Rockwell rip off Indiana Jones’ line about snakes.) But the screenplay gets so intricate and angry — and so shamelessly ambitious — you can’t believe someone in today’s Hollywood was willing to put up the money to get it made. Even helmed by proven hitmaker Verbinski of the “Pirates of the Caribbean” franchise, it’s a feat akin to convincing someone to fund a skyscraper-sized cuckoo clock that has a bird that pops out and heckles the crowd.

Eventually, a dubious crew enlists: public school teachers Mark and Janet (Michael Peña and Zazie Beetz), grouchy ride-share driver Scott (Asim Chaudhry), assistant Boy Scout leader Bob (Daniel Barnett), jittery mom Susan (Juno Temple) and forlorn Maria (Georgia Goodman), who keeps sighing that all she wanted was a slice of pie. Rockwell also impulsively yokes in Ingrid (Haley Lu Richardson), a grungy girl in a princess dress, who seems to be on her own suicide mission. The actors are mostly just pegs in a complicated plot, but they snap into place well.

The man from the future doesn’t have a plan — and worse, he considers himself the only person who isn’t expendable. The others can die (and do). As the group shuffles toward catastrophe, Verbinski intercuts their mission with flashbacks to their civilian lives. Their ordinary days, the digital indignities they’ve borne, that’s where Verbinski really gets mean.

The film’s feints and twists are fabulous as they explore how the internet’s promise has soured. One plotline involves a corporate brainstorm to make people love and nurture their own talking adbot, essentially a human-sized Tamagotchi. In another, school shootings have become such an epidemic that when Temple’s Susan gets summoned to identify her ninth-grader’s corpse, the other grieving mothers at the station calmly chitchat about traffic until one glances over at her nonchalantly and says, “First time?”

At first, the not-so-original idea that phones have turned children into zombies is a Romero-style parody of brain rot. (The young actor Cassiel Eatock-Winnik has a great scene as a vicious teen who stares down one of her elders and says, “You’re 35? That’s, like, older than most trees.”) But Verbinski reveals an unexpected angle of attack: Here, society has groomed the next generation to behave like machines. We don’t know why, exactly, but we can imagine a few reasons.

Even coping mechanisms take fire. Susan meets more parents who’ve snapped under the strain and become nihilistic trolls raising their daughter to be toxic so it won’t matter as much if she dies. Another character is quick to insist that everything he’s looking at — the walls, the people — is a facade. A 20-something gig worker named Tim (Tom Taylor) wants to permanently live in a VR simulation. His story is a little rushed but we get the idea that Tim’s not a jerk, just an idealist who can’t handle the tawdriness of the 21st century. As he puts it, “Why would I choose this world over that one?”

Verbinski doesn’t say much outright about the creeping concern that we’re living in a highly surveilled, aggressive and unpredictable police state. He’s able to make that point without words when cops arrive and our heroes-slash-hostages, none of whom have yet done anything worse than skip out on their bill, all assume the itchy trigger finger of the law will shoot them on sight. (And they’re right.) He also makes an ominous refrain of “Thank you for your service.”

It’s easier to howl at a classic like “Dr. Strangelove,” which mocked the leaders giddyuping the planet’s destruction, than at a present-day satire where we ourselves are the joke. As with “Idiocracy” (and eventually “Eddington”), our ability to fully appreciate this merciless, furious comedy might take a decade of remove. Even then, though, I won’t like James Whitaker’s cinematography, which goes for a deliberate ugliness but just looks dishwater drab.

“Good Luck, Have Fun, Don’t Die” anticipates the audience’s resistance. We do think for ourselves and so we scour the movie for flaws that will justify the urge to roll our eyes. For example: Why does Rockwell let some characters die and not others? Is the movie just as shallow as its j’accuse of us? Some quibbles get answered. Larger questions are left coyly unresolved so that we leave the theater uneasy.

There are so many overwhelming ideas in “Good Luck, Have Fun, Don’t Die” that, at over two hours, it does have the sense of a dissociative doomscroll. There’s even a plot point involving an algorithmic overlord that creates randomly generated armies: “Ghostbusters” with AI slop. The normie survivors try to convince themselves it might send something good, like they’re thumbing TikTok hoping for a treasure worth the time. Rockwell assures them it won’t. Nothing good will ever come. And what does arrive is so hellacious that it makes the Stay Puft Marshmallow Man look sweet.

The film is too cynical to take itself that seriously; Verbinski would roll his eyes at any thoughts and prayers it could do much good. Yet, anyone born with “19” at the start of their birthyear still remembers how it felt to leave the house without a black rectangle in their hands. That makes us all time travelers of a sort, too, beacons of an increasingly distant era in which it was possible to be unplugged.

But it’s OK if you’re on your screen right now. Just sit before a bigger one to see this film.

Nicole Curtis, whose home-rehab work in Detroit and Minneapolis has been the backbone of “Rehab Addict” on HGTV, is thanking people for their support and apologizing after a video surfaced in which she used a racial slur.

“I could say more, but I shall say less,” she wrote Wednesday in a caption on an Instagram video showing her going back and forth on an airport’s moving sidewalk. “Thank you for 15 years of amazing, amazing support! Your love took me from a struggling mommy working odd jobs in Craigslist to a real estate mogul whose voice (more than face) gets recognized all over the world.

“God Bless … Set the DVR -stream it -just make sure these old houses are saved.”

In the video, you can see her riding in one direction as the text over the video states, “POV: you waiting all this time for more Rehab Addict. Then she’s going the other way with text saying, “Me: I promise” followed by another direction switch and text that reads, “Me: forgive me.”

In her Instagram Stories, she shared a text exchange with TMZ where she said, in part, “Regarding HGTV, I’m grateful for the 15-year journey we’ve shared. It’s been a meaningful chapter, but my focus isn’t on my career. My focus at this moment is rightfully on my relationships, and my community — the people who truly know my character and where my heart is. I want to be clear: the word in question is wrong and not part of my vocabulary and never has been, and I apologize to everyone.”

She followed that up with a series of screen grabs showing messages from strangers calling her profane names, insulting her and labeling her a racist. One person said he wanted her deported and “disposed of” and added, amid his all-caps profanity, “may you never have a day of peace again.” Curtis told TMZ she was focused on being a mom.

Video of the slip was captured two years ago, according to Radar Online, which posted it Wednesday.

“Why? It’s my last one,” she says in the brief clip, whining a bit as she stands on a ladder and struggles to clip some wires. Then she uses the N-word.

She immediately stops what she’s doing, turns around and says, “What the f— is that that I just said? Nick, you gotta, you gotta — can you kill that?” A worker is seen helping her at ground level. Someone can be heard laughing off camera.

“No, I’ve got 35 minutes [of footage shot], I can’t …,” her cameraman says from farther away, off-camera.

“Oh, f— my life,” Curtis says, distressed over what she just said.

HGTV said in a statement that the network had been “recently made aware of an offensive racial comment made during the filming of Rehab Addict. Not only is language like this hurtful and disappointing to our viewers, partners, and employees — it does not align with the values of HGTV.”

The network said it had removed the show “from all HGTV platforms.” The show was produced for eight full seasons from 2010 to 2018 and was in the midst of an apparently short ninth season spread over two years when it was pulled. The franchise — which also included “Rehab Addict Rescue” (2021) and “Rehab Addict Lake House Rescue” (2022) — was no longer available to stream on the HBO Max or Discovery+ platforms on Thursday.

Curtis had posted a promo for the new episodes of “Rehab Addict,” which hasn’t showed new material since last summer.

“Straight from Detroit —the new episodes drop Wednesday …was told now or never -so you get them now,” the Instagram post says. Two episodes were set to air, but did not,” she wrote in the promo caption.”And can you do me a huge show of support by sharing this. Sending it to friends, tag a friend, a stranger.”

Curtis talked with The Times about her 2016 book “Better Than New: Lessons I’ve Learned From Saving Old Houses,” where she wrote, “The best way to get through hell is to keep on moving.”

“Years ago, I was having a bad time and I was sitting there in my pajamas crying, and a friend was there and said, ‘C’mon, get up, we’re going for a walk,’” she said at the time. “Now I’ve got mascara running down my face, and I’m a mess, but she said, ‘You have to keep moving, now, let’s go!’ And that was really helpful. If I wasn’t so physically active, I probably wouldn’t get out of bed some days. You have to get fired back up — just get up and move.”

It could be time for Curtis to get up and moving again.

Friends fans were left stunned when Netflix announced the beloved sitcom would be axed in December, but the series will return to UK screens in March

Netflix subscribers were left unimpressed after the streaming platform confirmed it would be dropping sitcom Friends from its catalogue in December.

The beloved series, which originally broadcast on NBC from 1994 to 2004, had been available on the platform since 2018, with all ten seasons ready to watch.

Following its departure from the streaming giant on December 30, UK audiences of the iconic 1990s series won’t have to wait long before it returns to their television screens.

Friends, starring Jennifer Aniston, Lisa Kudrow, Courtney Cox, Matt Le Blanc, David Schwimmer and Matthew Perry, follows the lives of six mates living in New York.

It boasts a staggering 236 episodes, offering fans more than 88 hours of content. At the time, Netflix fans shared the reaction to the show getting removed as one user vented on X: “You cannot take Friends off Netflix. Every night without fail I watch it.”

Echoing these sentiments, a fourth added: ‘How can Netflix be taking Friends off in the UK? Literally the ONLY thing I go onto Netflix everyday for, I watch it non stop back to back, my absolute comfort show, may as well cancel my subscription.’

A fifth concluded: “Genuinely heartbroken Friends is being taken off of Netflix. Best TV show of all time.”

However it’s not all bad as all ten seasons will shortly be available to stream on HBO Max, which launches in the UK on March 26 – having operated stateside since 2020.

The platform, which also streams other popular series including Game of Thrones and Succession, will be accessible in the UK and Ireland from just £4.99.

Beyond Friends, the streaming service will also feature programmes produced by HBO, Warner Bros, DC Studios and Max Originals.

The return of Euphoria, House of the Dragon and The Comeback, alongside the forthcoming Harry Potter TV series, and DC Studios series Lanterns, will all be available on the platform.

Oscar-nominated films Sinners and One Battle Another, which appeared in cinemas last year, will also be offered. HBO-produced shows have previously been available to stream in the UK through Sky and NOW – However, from 26 March onwards, content produced by HBO will be exclusive to HBO Max subscribers.

The two companies have reached an agreement that enables members to bundle both NOW and HBO Max subscriptions together, a change that all NOW Entertainment subscribers will be automatically transitioned to.

This arrangement ensures that HBO Max will be available for streaming in over 10 million households on its launch day.

Friends will be available to stream on HBO Max on its launch on March 26

**For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website**

The man I’m talking to tells me he has no name.

“Hey” is what he responds to, and he says he can be best described as a “travel agent,” a designation said with a sly smile to clearly indicate it’s code for something more illicit.

About eight of us are crammed with him into a tiny area tucked in the corner of a nightclub. Normally, perhaps, this is a make-up room, but tonight it’s a hideaway where he’ll feed us psychedelics (they’re just mints) to escape the brutalities of the world. It’s also loud, as the sounds of a rambunctious funk band next door work to penetrate the space.

Celeste Butler Clayton as Ursa Major and Ari Herstand as Copper Jones lead a group of theater attendees in a pre-show ritual.

(Gabriella Angotti-Jones / For The Times)

”Close your eyes,” I’m told. I let the mint begin to melt while trying to pretend it’s a gateway to a dream state. The more that mint peddler talks, the more it becomes clear he’s suffering from PTSD from his days in Vietnam. But the mood isn’t somber. We don’t need any make-believe substances to catch his drift, particularly his belief that, even if music may not change the world, at least it can provide some much-needed comfort from it.

“Brassroots District: LA ’74” is part concert, part participatory theater and part experiment, attempting to intermix an evening of dancing and jubilation with high-stakes drama. How it plays out is up to each audience member. Follow the cast, and uncover war tales and visions of how the underground music scene became a refuge for the LGBTQ+ community. Watch the band, and witness a concert almost torn apart as a group on the verge of releasing its debut album weighs community versus cold commerce. Or ignore it all to play dress-up and get a groove on to the music that never stops.

Audience members are encouraged to partake in a “Soul Train”-style dance exhibition.

(Gabriella Angotti-Jones / For The Times)

Now running at Catch One, “Brassroots District” aims to concoct a fantasy vision of 1974, but creators Ari Herstand and Andrew Leib aren’t after pure nostalgia. The fictional band at the heart of the show, for instance, is clearly a nod to Sly and the Family Stone, a group whose musical vision of unity and perseverance through social upheaval still feels ahead of its time. “Brassroots District” also directly taps into the history of Catch One, with a character modeled after the club’s pioneering founder Jewel Thais-Williams, a vital figure on the L.A. music scene who envisioned a sanctuary for Black queer women and men as well as trans, gay and musically adventurous revelers.

“This is the era of Watergate and Nixon and a corrupt president,” Herstand says, noting that the year of 1974 was chosen intentionally. “There’s very clear political parallels from the early ‘70s to 2026. We don’t want to smack anyone in the face over it, but we want to ask the questions about where we’ve come from.”

This isn’t the first time a version of “Brassroots District” has been staged. Herstand, a musician and author, and Leib, an artist manager, have been honing the concept for a decade. It began as an idea that came to Herstand while he spent time staying with extended family in New Orleans to work on his book, “How to Make it in the New Music Business.” And it initially started as just a band, and perhaps a way to create an excitement around a new group.

Ari Herstand as musician Copper Jones in an intimate moment with the audience.

(Gabriella Angotti-Jones / For The Times)

Celeste Butler Clayton (Ursa Major), from left, Ari Herstand (Copper Jones), Bryan Daniel Porter (Donny) and Marqell Edward Clayton (Gil) in a tense moment.

(Gabriella Angotti-Jones/For The Times)

Yet as the pair became smitten with immersive theater — a term that typically implies some form of active involvement on the part of the audience, most often via interacting and improvising with actors — Brassroots District the band gradually became “Brassroots District” the show. Like many in the space, Herstand credits the long-running New York production “Sleep No More” with hipping him to the scene.

“It’s really about an alternative experience to a traditional proscenium show, giving the audience autonomy to explore,” Herstand says.

Eleven actors perform in the show, directed by DeMone Seraphin and written with input from L.A. immersive veterans Chris Porter (the Speakeasy Society) and Lauren Ludwig (Capital W). I interacted with only a handful of them, but “Brassroots District” builds to a participatory finale that aims to get the whole audience moving when the band jumps into the crowd for a group dance. The night is one of wish fulfillment for music fans, offering the promise of behind-the-stage action as well as an idealized vision of funk’s communal power.

Working in the favor of “Brassroots District” is that, ultimately, it is a concert. Brassroots District, the group, released its debut “Welcome to the Brassroots District” at the top of this year, and audience members who may not want to hunt down or chase actors can lean back and watch the show, likely still picking up on its broad storyline of a band weighing a new recording contract with a potentially sleazy record executive. Yet Herstand and Leib estimate that about half of those in attendance want to dig a little deeper.

At the show’s opening weekend this past Saturday, I may even wager it was higher than that. When a mid-concert split happens that forces the band’s two co-leaders — Herstand as Copper Jones and Celeste Butler Clayton as Ursa Major — to bolt from the stage, the audience immediately knew to follow them into the other room, even as the backing band played on. Leib, borrowing a term from the video game world, describes these as “side quests,” moments in which the audience can better get to know the performers, the club owner and the act’s manager.

“Brassroots District: LA ‘74” is wish fulfillment for music fans, providing, for instance, backstage-like access to artists. Here, Celeste Butler Clayton performs as musician Ursa Major and is surrounded by ticket-goers.

(Gabriella Angotti-Jones / For The Times)

An audience member’s costume.

(Gabriella Angotti-Jones / For The Times)

Yet those who stay in the main stage will still get some show moments, as here is where a journalist will confront a record executive. Both will linger around the floor and chat with willing guests, perhaps even offering them a business card with a number to call after the show to further the storyline beyond the confines of the club. If all goes according to plan, the audience will start to feel like performers. In fact, the central drama of “Brassroots District” is often kicked off by an attendee finding some purposely left-behind props that allude to the group’s record label drama. Actors, say Herstand, will “loosely guide” players to the right spot, if need be.

“The point is,” says Leib, “that you as an audience member are also kind of putting on a character. You can stir the spot.” And with much of the crowd in their ‘70s best and smartphones strictly forbidden — they are placed in bags prior to the show beginning — you may need a moment to figure out who the actors are, but a microphone usually gives it a way.

“They’re a heightened version of themselves,” Herstand says of the audience’s penchant to come in costumes to “Brassroots District,” although it is not necessary.

“Brassroots District,” which is about two hours in length, is currently slated to run through the end of March, but Herstand and Leib hope it becomes a long-running performance. Previous iterations with different storylines ran outdoors, as it was first staged in the months following the worst days of the pandemic. Inside, at places such as Catch One, was always the goal, the pair say, and the two leaned into the venue’s history.

“It’s in the bones of the building that this was a respite for queer men and the Black community,” Leib says. “There’s a bit of like, this is a safe space to be yourself. We’re baking in some of these themes in the show. It’s resistance through art and music.”

Such a message comes through in song. One of the band’s central tunes is “Together,” an allusion to Sly and the Family Stone’s “Everyday People.” It’s a light-stepping number built around finger snaps and the vision of a better world.

“We are stronger when we unite,” Herstand says. “That is the hook of the song, and what we’re really trying to do is bring people together. That is how we feel we actually can change society.”

And on this night, that’s exactly what progress looks like — an exuberant party that extends a hand for everyone to dance with a neighbor.

Bijou Phillips needs a kidney donor and she’s asking the public for help.

“I need help finding a new kidney,” the actor wrote in an Instagram post Wednesday. “I’m asking as a friend, a sister, an aunt and, most importantly, a single mother to an incredible and brave daughter. I am in need of a kidney.”

According to her Instagram post, Phillips was born with an underdeveloped kidney. She said she previously received a kidney in 2017 “from a dear friend” but that she has faced “many complications since,” including the BK virus. Per the National Kidney Foundation, the BK virus is common and usually inactive, but it can “wake up” when a person’s immune system is compromised — like after an organ transplant — and affect the success of the transplant.

Phillips is hospitalized at UCLA Health and in stable condition for now, TMZ reported.

Phillips, who is back on dialysis while she awaits a transplant, also shared a link to a living donor form on her Instagram for people interested in getting the voluntary donation process started.

“Please help me find a living donor so that I can have more time with my daughter, family, and friends,” Phillips wrote. “Time is of the essence.”

Phillips shares a daughter with ex-husband Danny Masterson. Fianna Francis was born in 2014.

Masterson was convicted in 2023 of raping two former members of the Church of Scientology and was sentenced to 30 years to life in prison. He filed a petition to overturn the conviction last year.

The head of the powerful Los Angeles County Federation of Labor, AFL-CIO, blasted Nithya Raman on Wednesday, calling the city council member an “opportunist” for launching a campaign to unseat Mayor Karen Bass after previously signaling her support for Bass.

Federation president Yvonne Wheeler said in a statement that her organization, which represents an estimated 800,000 workers, will “use every tool” in its arsenal to get Bass reelected.

“With Donald Trump’s ongoing war against the people of Los Angeles, our working families and immigrant communities, now is not the time for distractions from a political opportunist — especially one who backed the Mayor’s re-election campaign just weeks ago,” Wheeler said.

Raman, whose district stretches from Silver Lake to Reseda, was announced as one of the mayor’s endorsers on Jan. 27 in a campaign press release listing Bass’ San Fernando Valley supporters. Two days later, she appeared in a second campaign press release as one of Bass’ female endorsers.

Raman launched her own last-minute mayoral bid on Saturday, saying that City Hall is unable to “manage the basics.”

The primary election is June 2, followed by a November runoff if no candidate secures a majority of the vote.

Raman’s campaign team did not immediately respond to Wheeler’s assertions after being contacted by The Times.

In her statement, Wheeler described Bass as a “lifelong progressive” while suggesting that Raman, whose council campaigns were backed by the Democratic Socialists of America and several other progressive groups, falls short on that front.

“You can’t truly be progressive unless you are a true champion of working people,” she said. “Karen Bass is the only candidate in this race who meets that criteria.”

The federation represents about 300 labor organizations in L.A. County, including unions representing teachers, social workers, construction trades and entertainment industry workers. In previous city elections, the group has spent big on its favored candidates, paying for campaign materials, door-to-door canvassers and other expenses.

Raman broke with the labor federation and her colleagues in September, voting against the $2.6-billion expansion of the Los Angeles Convention Center.

Before that vote, labor unions said the upgrade would generate much-needed construction jobs at a time when housing production has been down. Raman and Councilmember Katy Yaroslavsky warned the project was too financially risky and would saddle the city with significant budget shortfalls starting in 2031 — after Bass is out of office.

“What I fear is that we’re going to have a beautiful new Convention Center surrounded by far more homelessness than we have today, which will drive away tourists, which will prevent people from coming here and holding their events here,” Raman said at the time.

Bass supported the project, as did a majority of the council.

Raman also drew the ire of some construction union leaders last month by drafting a last-minute proposal to ask voters to change Measure ULA, a tax on property sales of $5.3 million and up. Raman, who described herself as a supporter of Measure ULA, brought her proposal to the council floor one day before the deadline to take action.

Raman, who backed Measure ULA in 2022, said she now believes it has had unintended consequences, putting a major damper on real estate development and inhibiting the production of much-needed housing.

Who: India vs Namibia
What: ICC Men’s T20 World Cup 2026 – Group A
When: Thursday, February 12 at 7pm (13:30 GMT)
Where: Arun Jaitley Stadium, New Delhi, India
How to follow and stream: Al Jazeera’s live text and photo stream begins at 10:30 GMT

Namibia will look to make the most of an illness-and-injury-plagued Indian side when they meet the defending champions in their Group A match on Thursday.

India are likely to take the field without their swashbuckling opener Abhishek Sharma after he was hospitalised with an upset stomach on Tuesday.

While Sharma was discharged on the eve of the match, his presence in the playing XI is doubtful.

The world’s top-ranked T20I batter struggled in India’s opening match against the United States.

“He has been discharged today, and he is doing well,” Indian batter Tilak Varma told reporters.

“We have got one more day for the game. Hopefully, we decide by tomorrow on how he feels, and we go with it.”

In better news for the world champions, pace spearhead Jasprit Bumrah is expected to return after he missed the opener due to a fever.

Namibia expect ‘great spectacle’

Namibia, meanwhile, will be looking to move past their heavy loss against the Netherlands on Tuesday and register a shock win over the two-time world champions.

The African team’s coach, Craig Williams, admitted his side faces a stiff challenge against India, but they would like to pose a challenge against the pre-tournament favourites.

“Playing India in India – it’s going to be a great game for us and the spectacle is going to be fantastic for everyone back home as well,” Williams said before the match.

“As a professional team, we want to put on a good show, and hopefully, we’re going to stick to our game plan, and then we’ll see what happens at the end of the day.”

Williams said the key to Namibia’s chances will be a strong batting performance at the top of the order.

“We need someone in our top four to bat for a prolonged period of time, and then you need partnerships,” the former cricketer said.

“Playing against India won’t be easier, but if we can stick to our game plan, and take one ball at a time, hopefully, the result will then go our way.”

Form guide: India

India are on an eight-game unbeaten run in the T20 World Cup, carrying on from their title-winning campaign in 2024.

They lost one of their five T20Is against New Zealand last month.

Last five matches (most recent first): W W L W W

Form guide: Namibia

One of the biggest results in Namibian cricket history came in October, when they beat 2024 finalists South Africa by four wickets.

They have not been lucky enough to play international fixtures regularly, but can pose a challenge if one of their key players makes an impact.

Last five matches (most recent first): L W L W W

Team news: India

India’s squad has been hit by a range of illnesses and injuries, but Suryakumar Yadav’s team have plenty of power on the bench to grab another win.

Bumrah could return to the XI, replacing his stand-in Mohammed Siraj, and Sanju Samson could take Sharma’s place at the top of the order.

Predicted XI: Sanju Samson, Ishan Kishan (wicketkeeper), Tilak Varma, Suryakumar Yadav (captain), Hardik Pandya, Rinku Singh, Shivam Dube, Axar Patel, Jasprit Bumrah, Arshdeep Singh, Varun Chakravarthy

Team news: Namibia

Namibia could field the same XI that lost to the Netherlands, hoping that the result goes the other way this time.

Predicted XI: Louren Steenkamp, Jan Frylinck, Jan Nicol Loftie-Eaton, Gerhard Erasmus (captain), JJ Smit, Zane Green (wicketkeeper), Dylan Leicher, Willem Myburgh, Ruben Trumpelmann, Bernard Scholtz, Max Heingo

Is Mike Johnson stupid?

The five-term Louisiana congressman earned a law degree and maneuvered his way to become speaker of the House. That requires a certain mental aptitude.

However, wanting that job, which entails bowing and scraping to President Trump while herding an unruly GOP conference with an eyelash-thin majority, does tend to land on the stupid side of the scale.

But maybe Johnson isn’t stupid. Maybe he’s just willfully ignorant, or uninformed. Perhaps he simply doesn’t know any better.

How else to explain his persistent claim there’s something sinister and nefarious about the way California casts and counts its election ballots?

Just last week, Johnson once again repeated one of the sophistries the president uses to dump all over the country’s elections system and explain away his oft-verified loss in the 2020 presidential campaign.

With an apparent eye toward rigging the 2026 midterm election, Trump suggested Republicans should “take over the voting” in at least “15 places,” which, presumably, would all be Democratic strongholds. Johnson — bowing, scraping — echoed Trump’s phony claims of corruption to justify the president’s latest treachery.

“In some of the states, like in California, for example. I mean, they hold the elections open for weeks after election day,” Johnson told reporters. “We had three House Republican candidates who were ahead on election day in the last election cycle, and every time a new tranche of ballots came in, they just magically whittled away until their leads were lost. … It looks on its face to be fraudulent.”

Fact check: There was no hocus-pocus. No “holding open” of elections to allow for manipulation of the result. No voting or any other kind of fraud.

California does take awhile to count its ballots and finalize its elections. If people want a quicker count, then push lawmakers in Sacramento to spend more on the consistently underfunded election offices that tally the results in California’s 58 counties.

That said, there are plenty of reasons — none involving any kind of partisan chicanery — that explain why California elections seems to drag on and vote totals shift as ballots are steadily counted.

For starters, there are a lot of ballots to count. Over the last several decades, California has worked to encourage as many eligible citizens as possible to invest in the state and its future by engaging at election time and voting.

That’s a good thing. Participatory democracy, and all that.

More than 16 million Californians cast ballots in the last presidential election. That number exceeds the population of all but 10 states.

Once votes are cast, California takes great care to make sure they’re legitimate and counted properly. (Which is exactly what Trump and Johnson want, right? Right?)

That diligence takes time. It may require looking up an individual’s address or verifying his or her signature. Or routing a ballot dropped off at the wrong polling location to its appropriate county for processing.

In recent years, California has shifted to conducting its elections predominantly by mail. That’s further extended the counting process. The state allows those ballots to arrive and be counted up to seven days after the election, so long as they are postmarked on or before election day. Once received, each mail ballot has to be verified and processed before it can be counted. That prolongs the process.

County elections officials have 30 days to tally each valid ballot and conduct a required postelection audit. That’s been the time frame under state law for quite some time.

What’s changed in recent years is that California has had several closely fought congressional contests — a result of more competitive districts drawn by an independent redistricting commission — and the nation has had to wait (and sometimes wait and wait and wait) for the results to know the balance of power in a narrowly divided Congress.

“For that reason, we get an outsized amount of criticism for our long vote count, because everyone’s impatient,” said Kim Alexander, president of the nonpartisan California Voter Foundation.

As for why the vote in congressional races has tended to shift in Democrats’ favor, there’s a simple, non-diabolical explanation.

Republican voters have generally preferred to cast their ballots in person, on election day. Democrats are more likely to mail their ballots, meaning they arrive — and get counted — later. As those votes were tallied, several close contests in 2024 moved in Democrats’ direction.

(In 2022, in Riverside County, Democratic challenger Will Rollins led Republican Rep. Ken Calvert for several days after the election before a batch of Republican votes erased Rollins’ lead and secured Calvert’s reelection. You didn’t hear Democrats raise a stink.)

There are plenty of reasons to bash California, if one is so inclined.

The exorbitant cost of housing. Nightmarish traffic. High rates of poverty and homelessness.

But on the plus side, a comprehensive study — the 2024 Cost of Voting Index, published in the Election Law Journal — ranked California seventh in the nation in the ease of casting a ballot. That’s something to be proud of.

As for Johnson, the evidence suggests the speaker is neither dumb nor uninformed when it comes to California and its elections. Rather, he’s scheming and cynical, sowing unwarranted and corrosive doubts about election integrity to mollify Trump and thwart a free and fair election in November.

Which is much worse than plain old stupidity.

The historic Derbyshire village has become a popular spot for visitors in recent years, with people describing it as a ‘hidden gem’ – but it’s hiding a dark history

Tucked away in the Derbyshire countryside lies a charming village, rich in history and hailed by visitors as a true “hidden gem”. However, this idyllic spot conceals a much darker past.

During the tumultuous times of the Great Plague in the 1600s, when the entire nation was in turmoil, the villagers of Eyam chose to defy convention.

As people across Britain were abandoning their homes in a desperate bid to evade infection, the arrival of the plague in Eyam in August 1665 prompted the villagers to do the exact opposite – they resolved to stay put.

It’s believed the disease got into the village via a parcel of cloth sent from London to a local tailor. The tailor’s assistant succumbed to the illness just days after airing the damp cloth, triggering a rapid spread of the disease throughout the village.

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In a collective act of self-sacrifice, the villagers opted for voluntary quarantine, reasoning that fleeing would only propagate the plague further afield.

The rules were stringent – no one was permitted to leave or enter the village, a harsh regime that persisted for an arduous 14 months.

Despite these measures, the village suffered a devastating loss of approximately 260 lives, decimating a significant portion of its population. Tragically, it’s said that one villager was forced to bury six of her children and her husband in just eight days

Eyam Museum serves as an ideal starting point for visitors keen to delve into the village’s poignant history during those dark days. The area is dotted with sites that tell compelling tales of the plague and its devastating impact.

One recent visitor hailed the place as a “hidden gem”. Another shared their experience on TripAdvisor, saying: “Really enjoyed our visit to the Eyam Museum. Staff were welcoming and friendly.

“Despite its compact size, the museum offers plenty to see; a diverse range of visual displays about the Plague and also the history of Eyam’s residents. We’d certainly recommend a visit.”

Another visitor added, writing: “This museum was really interesting – much better than expected from a small museum! The history is fascinating and very well laid out – they manage to bring it to life by the stories of the individuals and families who both survived and died.”

Also nestled within the village is Eyam Hall and Courtyard, a 17th-century manor house complete with stunning gardens and Bloom Bar and Grill for shopping and dining.

One visitor shared: “A beautiful venue for a wedding! Such a gorgeous, peaceful village with stunning surroundings and grounds. This made for an incredibly memorable evening.”

Following a visit to the on-site café, another visitor shared their experience: “We dropped into Bloom looking for a light lunch. We settled for a coffee and a Margarita pizza, which definitely exceeded expectations – my friend said it was the best pizza she had ever tasted. Service was attentive, and the ambiance was calm and peaceful.”

FOR the first time ever, Disney Cruise Line’s Disney Wish is coming to the UK.

From summer 2027, Disney fans can head off on a cruise on the Disney Wish from Southampton on three to seven-night European sailings.

Bookings for sailings go live on February 23.

The Disney Wish is the fifth ship in the Disney Cruise Line fleet and is full of storytelling.

As guests board the ship, they will enter through the Grand Hall, with their name even being called out.

Princes and princesses will be there to greet you before you head off to discover the rest of the ship and your room.

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Inside each stateroom, passengers will find spacious wardrobes, sprawling beds and a theme specific to a Disney character.

Mine featured Moana artwork, including a huge piece on Te Fiti – the goddess of life and nature.

Most of the staterooms also feature a split bathroom and an ocean view.

When it comes to food on board the ship, guests won’t be short for choice, with market-style buffet options and immersive dining adventures.

For example, at Arendelle: A Frozen Dining Adventure there is a live performance from the characters of the film, including Olaf.

All the iconic songs are performed, and plenty of opportunities to sing along as you get served your food.

Another dining experience is Worlds of Marvel where you are immersed in a futuristic-style restaurant and accompanied by Ant-Man and Spider-Man.

As a sweet-tooth, I especially loved Inside Out: Joyful Sweets, where you can pick up handmade gelato and ice cream or tuck into a themed macaron, cupcake, or chocolate treat.

Coffee onboard the ship is also an experience – each time I picked up my morning latte from either The Wishing Star Café or The Enchanted Sword Café, I was greeted by a character printed onto the foam.

As for other entertainment, the ship has an endless amount of things to do.

Each night over a voyage, the Walt Disney Theatre puts on a West-End style show.

My personal favourite was Disney Seas the Adventure, where passengers follow Goofy on a journey sailing the ship.

Other shows include Disney The Little Mermaid – an adaptation of the classic tale.

Kids have lots to do outside of the shows as well.

The Disney AquaMouse is a performance and ride in one, with lighting, special effects, and scenes of Mickey and Minnie on different adventures.

And for kids needing to let off steam, there is the Hero Zone, where there are a number of challenges and game-style competitions.

Once they ultimately tire out, the two cinemas are the ideal spots to cosy up with some popcorn while watching the latest Disney releases.

And the ultimate night for the whole family is Pirates’ Night, where Captain Jack Sparrow takes a fateful leap from the ship’s funnel.

If parents do want some time away from the kids, there is an entire deck dedicated to children, including a full-service nursery and separate clubs for kids and teens.

This gives parents the chance to nip off to the adult-only spaces without stressing about their kids, and these were my favourite spaces on the Disney Wish.

The Senses Spa & Salon was the ultimate destination for a pamper session.

With a sauna, steam room and heated loungers, there are plenty of spots for child-free relaxation, though my favourite was the frigidarium, sitting at a chilly 10C.

And who wouldn’t enjoy the outdoor whirlpools as the sun sets and the waves crash against the side of the ship?

Quiet Cove is another top adult-only spot, where you can relax in an infinity pool that looks over the sea.

It is the ideal place to be when the ship’s horn blasts the iconic first seven notes of the ‘When You Wish Upon a Star’ song melody.

In total, the ship can carry up to 4,000 passengers, with an additional 1,555 crew members onboard.

The cheapest sailing is a three-night Belgium cruise from Southampton, sailing to Zeebrugge (Brussels) in Belgium costing from £1,633 for two people.

One of the four-night itineraries costs from £2,252 for an inside stateroom for two people, heading to La Coruña, in Spain.

Or you could head off on a seven-night Northern Europe cruise from Southampton from £3,273 for two people.

You could really splash out with the a seven-night Norwegian Fjords cruise from Southampton, sailing to Kristiansand, Olden, Alesund and Haugesund in Norway from £5,235 for two people.

In other cruise news, here are our pick of the eight best cruises for both hot and cold weather – from Caribbean sailings to Icelandic glacier tours.

Plus, the ‘affordable luxury’ Nordic cruise where temperatures hit 28C.

It turns out timing does matter, with a TikTok travel expert revealing that even a few minutes can make the difference between overpaying and bagging a bargain.

Ever wondered when the best time of day is to book a holiday? A TikTok travel expert has the answer — and his viral video is doing the rounds online.

Rob, known as @robonthebeach online, has built a reputation for clever holiday hacks that save travellers money, but on of his more recent tips is truly ground-breaking. In a clip posted last month, he revealed the best and worst times to book, and the results might just surprise you.

In the video, Rob — who says he “works in travel and looks through holiday data every single day” — explains that timing isn’t just important by the day or week, but down to the hour and even the minute. This is a big win for the night owls!

“According to the data, the most expensive time to book a holiday is between 9 and 10am in the morning,” he said. That’s the dreaded office-hour scroll, and it could be costing travellers dearly.

Rob claims bookings made in that hour were around 30% more expensive than those made at the cheapest time of day. His advice? “No more booking holidays as soon as you get to the office.”

The cheapest time, however, comes much much earlier: “[It’s] early morning, like really early morning, between 4 and 5 am”. He explains how airline pricing systems effectively reset overnight as demand from the previous day drops off, pushing prices closer to their base level before creeping back up as searches increase throughout the day.

And for those searching for the ultimate saving, Rob revealed the exact time where prices are at their lowest: “The single cheapest minute to book a holiday is 2.48am,” he noted. Booking at that precise moment was, on average, 60% cheaper, though he stressed this won’t magically slash the price of each and every trip.

If you’d rather not set a 4am alarm, Rob points out there are other cheaper times, including late evening between 8pm and 10pm, which is still noticeably cheaper than the morning rush.

The video sparked a wave of reactions online, with one user confirming: “On those insomnia nights, can confirm the early hours are cheap,” while a second joked: “Now everyone is going to book at this time and it won’t be cheap anymore.”

Others offered additional tips, including: “Remember to clear your cache,” as another summed it up with “cheap as chips, fair play”.

Brits are certainly keen holiday bookers. Research from YouGov shows that around 35% of UK travellers book their holidays one to three months in advance, while a further 23% book four to six months ahead.

While data from IPA suggests the average UK adult books a holiday roughly 17 weeks before travelling, with online bookings now dominating. ABTA claims that around 78% of adults take at least one holiday each year.

The donkeys are pissed off. Put upon, out of work and victims of decades-long systemic abuse, it’s time, they have decided, to protest.

The donkeys, metaphorically, are us.

At least that’s the premise of “asses.masses,” a video game played by and for a live audience. It’s theater for the post-Twitch age, performance art for those weaned on “The Legend of Zelda” or “Pokémon.” Most important, it’s entertainment as political dissent for these divisive times. Though the project dates to 2018, it’s hard not to draft 2026 onto its narrative. Whether it’s unjust incarceration, mass layoffs or topics centered around tech’s automation of jobs, “asses.masses,” despite generally lasting more than seven hours — yes, seven-plus hours — is a work of urgency.

The audience cheers various decisions made during the playing of “asses.masses” at UCLA Nimoy Theater.

(Myung J. Chun / Los Angeles Times)

And for the audience at the Saturday showing at the UCLA Nimoy Theater, it felt like a call to arms. Citizens executed in the street for exercising their right to free speech? That’s in here. Run-ins with authorities that recall images seen in multiple American cities over the past few months? Also in here, albeit in a retro, pixel art style that may bring to mind the “Final Fantasy” series from its Super Nintendo days.

In a city that’s been ravaged by fires, ICE raids and a series of entertainment industry layoffs, the sold-out crowd of nearly 300 was riled up. Chants of “ass power!” — the donkey’s protest slogan — were heard throughout the day as attendees politely gathered near a single video game controller on a dais to play the game, becoming not just the avatar for the donkeys but a momentary leader for the collective. Cheers would erupt when a young donkey reached the conclusion that “I kinda think the system is rigged against everyone.” And when technological advances, clearly a stand-in for artificial intelligence, were described as “evil, soulless, job-taking, child-killing machines,” there were knowing claps, as if no exaggeration was stated.

“Our theater is supposed to be a rehearsal for life,” says Patrick Blenkarn, who co-created the game with Milton Lim, interdisciplinary artists from Canada who often work with interactive media.

“We grew up in a radical political tradition of theater,” says Patrick Blenkarn, right, who co-created “asses.masses” with Milton Lim.

(Myung J. Chun / Los Angeles Times)

“We grew up in a radical political tradition of theater, where this is where we can rehearse emotional experience — catharsis,” Blenkarn says. “That is what art is supposed to be doing. We have been very interested in the idea that if we come together, what are we going to do and how are we going to do it? What we are seeing in your country, and other countries, is the question of how are we going to change our behavior, and will the people who currently have the controller listen? And if they don’t, what do we do?”

Video games are inherently theatrical. Even if one is playing solo on the couch, a video game is a dialogue, a performance between a player and unseen designers. Blenkarn and Lim also spoke in an interview prior to the show of wanting to re-create the sensation of gathering around a television and passing a controller back and forth among family or friends while offering commentary on someone’s play style. Only at scale. And while I thought “asses.masses” could work, too, as a solitary experience at home, its themes of collective action and reaching a group consensus, often through boos or shouts of encouragement, made it particularly well-suited for a performance.

The UCLA Nimoy Theater played host to “asses.masses” this weekend.

(Myung J. Chun / Los Angeles Times)

Beginning at 1 p.m. and ending shortly after 8 p.m., coincidentally, says Blenkarn, the length or so of a working day, not everyone made it to the “asses.masses” conclusion. About a quarter of the audience — a crowd that was clearly familiar with the multiple video game style represented in “asses.masses” — couldn’t stand the endurance test. But in a time of binge-watching, I didn’t find the length prohibitive. There were multiple intermissions, but those became part of the show as well, as there was no set time limit. Blenkarn and Lim were asking the audience, via a prompt on the screen, to jointly agree upon a length, emphasizing, once again, the importance of collective cooperation.

And “asses.masses” holds interest because it, in part, embraces the animated absurdity and inherent experimentation of the medium. While often in a retro pixel art style, at times the game shifted into a more modern open-world look. And the story veers down multiple paths and side-quests — some requiring wild coordination such as a rhythm game meant to simulate donkey sex, and others more tense, such as “Metal Gear”-like sneaking, complete with the donkeys hiding in cardboard boxes.

Audiences vote, often by cheering or booing, on choices in “asses.masses.”

(Myung J. Chun / Los Angeles Times)

The way “asses.masses” shifted tones and tenor recalled a game such as “Kentucky Route Zero,” another serialized and alternately realistic and fanciful game with political overtones. Other times, such as the surreal world of the donkey afterlife, I thought of the colorfully unpredictable universe of the music-focused game “The Artful Escape,” a quest for personal identity and self-actualization. The donkeys in “asses.masses” are an ensemble, often trying to steer the audience in different directions. As much as some push for a protest as a way for communal healing and progressive action, others take a cynical outlook, viewing that path as “intellectually compromised” by a “commitment to past ideals.”

The goal, says Lim, is to create a sort of game within a game — one that’s being played with a controller and one of debate among a crowd. “It’s not about having a billion endings,” Lim says. “We understand it’s a theater show, and we as writers have objectives for what we want it to go towards. But the decisions people make in the room really matter. The game is half in the room and half on the screen.”

The audience, for instance, can play a role in keeping certain donkeys alive. Or what jobs a group of renegade donkeys may choose. Our audience voted for the donkeys to enter the circus, at least until they were deemed obsolete and sent to detention centers, which felt uncomfortably of the moment. Such topicality is what drew Edgar Miramontes, leader of CAP UCLA, to the show, despite his admittance to being largely unfamiliar with the world of video games.

“It doesn’t shy away from the nuances of when organizing happens and what we’re seeing in our world right now,” Miramontes says. “There are instances in which a donkey may die because, in organizing to achieve their goals, these things happen. We have seen this in our Civil Rights Movement and other movements and the current movement that’s happening right now around ICE.”

The Nimoy event, part of UCLA’s current Center for the Art of Performance season, was the 50th time “asses.masses” had been performed. The show will continue to tour, with a performance in Boston set for this upcoming weekend and it will reach Chicago later this year. Our donkeys on Saturday didn’t solve all the world’s inequalities, but they did live full lives, attending raves, engaging in casual sex and even playing video games.

A player celebrates during “asses.masses,” live action theatrical video game.

(Myung J. Chun / Los Angeles Times)

The show is an argument that progress isn’t always linear, but community is constant. As one of the donkeys says at one point, “If you aren’t doing something that brings you joy, do something different.”

“In case anyone is like, ‘I don’t want to be lectured at,’ or I don’t want to do all this work, it feels like you’re just having fun with friends,” Lim says. “Maybe revolution doesn’t always look like just this. Maybe it’s also this.”

And like many a video game, maybe it’s a chance to live out some fantasies. “We do beat up riot cops in the game,” Blenkarn says, “in case anyone is hoping for that opportunity.”

MILAN — Brittany Bowe will bow out of the Olympics without a medal in her best event.

A four-time Olympian who said the Milan-Cortina Games will be her last, Bowe was edged off the podium in the final pair of the speed skating 1,000-meter race Monday, finishing fourth with a time of one minute and 14.55 seconds. Japan’s Miho Takagi bumped the 37-year-old American out of third place with a time of one minute, 13.59 seconds.

The Netherlands’ Jutta Leerdam set an Olympic record to win gold, clocking in at one minute, 12.31 seconds. She bested her own teammates’ Olympic record set minutes before to push Femke Kok down to silver.

Kok clapped with a resigned look on her face after Leerdam’s time flashed on the screen. Black mascara stained Leerdam’s cheeks as she skated around the arena, saluting the legion of Dutch fans that filled the stands at Milano Speed Skating Stadium. Her fiance, YouTuber-turned-boxer Jake Paul, was in the stands and moved to tears.

Jutta Leerdam of the Netherlands celebrates winning the gold medal in the women’s 1,000-meter speedskating race at the Winter Olympics in Milan on Monday.

(Luca Bruno / Associated Press)

Erin Jackson, the 2022 Olympic gold medalist in the 500 meters who was skating through three herniated discs in her lower back, finished sixth. Racing in the 1,000 meters for the first time in her Olympic career, she clapped cordially at the end of the race. Bowe, who set the world record in the 1,000 meters in 2019, hugged her coaches before disappearing off the ice.

Already longtime friends, the Americans became inextricably linked in 2022. Bowe gave up her qualifying spot in the 500 meters for the Beijing Olympics after Jackson slipped during the U.S. Olympic trials. Bowe had already qualified in other disciplines. She knew Jackson had potential to win a medal. The decision to relinquish her spot was easy, she said at the time.

Jackson made the sacrifice worth it, becoming the first Black woman to win an individual gold medal in the Winter Olympics. Bowe, who still raced in the 500 meters after an additional spot became free, finished 16th.

Bowe instead relied on her top event, the 1,000 meters, for her chance at the podium. The world record holder in the event — which she set in 2019 — won bronze in Beijing for her first individual Olympic medal.

American Erin Jackson competes in the women’s 1,000-meter speedskating race at the Winter Olympics in Milan on Monday.

(Luca Bruno / Associated Press)

But the experience felt “empty,” Bowe said in retrospect. With empty stands during the pandemic-affected Games, Bowe missed the energy of the crowd and especially her family and friends.

Bowe wasn’t lacking for crowd noise Monday. The oval was encircled by a ring of orange. Dutch fans roared every time one of their competitors zoomed by. Even when Kok and Leerdam were warming up, gliding by at a snail’s pace compared to skaters during their race, the crowd cheered. They waved in acknowledgment.

When Kok crossed the finish line, she raised both fists triumphantly. Her time of one minute, 12.59 seconds was good enough for the Olympic record, but Leerdam blazed past her only two pairs later.

Bowe and Jackson will still race in Jackson’s specialty of the 500 meters, while Bowe will finish her Olympic career in the 1,500 meters.

This year’s lineup of Oscar-nominated live-action shorts is as diverse as any in recent memory. From gritty political reality to absurdly cutting political commentary, tongue-in-cheek parody to touching, intimate drama (plus a moody adaptation of a Russian short story), voters have a wide selection from which to choose.

‘Butcher’s Stain’

Following the horrific attacks of Oct. 7, 2023, a Palestinian butcher in an Israeli shop finds himself accused of defiling a tribute to the hostages.

“I worked at the supermarket, and I experienced the collective trauma everyone was going through,” says writer-director Meyer Levinson, but he also felt how much animus “was pointed to the Palestinians that were working at the supermarket … individuals who have nothing to do with anything that happened, especially like my [movie’s] character, who is an everyday, working-class guy, trying to get money for his family, and has nothing to do with politics.”

Levinson calls making the film, his first, “one of the greatest experiences of my life. The set of a student film is a magical place; people come there for free, for passion. You just have to get them a decent sandwich.

“There were Palestinians, Jewish Israelis, Palestinians within Israel on set. It was this sort of paradise where we could come together. I’ve learned so much from my Palestinian actors, who’ve taught me about their community.”

‘A Friend of Dorothy’

(Filthy Gorgeous Productions)

In Lee Knight’s film, a chance meeting between a young Black Englishman in the process of finding himself and an elderly, white Englishwoman blossoms into an unexpected kinship — one based on Knight’s experience.

“I had a unique friendship with an elderly neighbor,” says Knight. “Me and my husband looked after her. She had this huge passion for the arts that she didn’t get to explore; when she realized we were actors, it was a huge thing for her. We became very, very close.

“She told me she would hide gay men in the garden during the war” and help them during the time of England’s infamous Section 28 (“banning the ‘promotion’ of homosexuality,” Knight says). He says it was meaningful for her “to see an interracial, gay couple happy and safe in her lifetime. As a gay man, I loved being around women because they didn’t judge me.”

‘Jane Austen’s Period Drama’

A charming country hillside. A fetching lass in Regency garb and her paramour, confessing his ardor. And the equivalent of a needle scratch as he’s halted by the appearance of blood on her skirt. Yes, that’s what’s meant by “Period Drama.” How will Miss Estrogenia Talbot elucidate this conundrum to Mr. Dickley? And once comprehending, shall he go with the flow?

Co-writer and co-director Julia Aks (who plays Estrogenia) admits it was the titular pun that got her and co-writer and co-director Steve Pinder going, but, “As we followed the thread, it made me reflect on shame I maybe hadn’t thought about. And the more I talked to women about funny period stories, I found they had heartbreaking ones.”

The film addresses stigma surrounding menstruation and includes biologically accurate descriptions; educational groups have screened it. But foremost, this “Period Drama” is a comedy.

Pinder says, “When you hear people laugh and come to life watching it, and then come up to you afterward and look like they’re floating … that is just incredible.”

‘The Singers’

Sam A. Davis didn’t exactly love Ivan Turgenev’s short story “The Singers,” at first — “honestly, I nodded off a couple times,” he says. “But it sneaks up on you. These guys have this fleeting moment of connection.”

The film updates Turgenev’s 1850s Russia to contemporary America, but maintains the “Lower Depths” social stratum. The low-down dive bar is draped in painterly shadows inspired by Renaissance masters, the stale cigarette stench palpable. Then the notion of a singing contest arises, and life stirs.

Davis says, after reading the story, “This sort of kismet moment happened where I opened Instagram and the first video that popped up was Mike Yung singing in the subway station in New York City. I flashed on a modern adaptation, but starring viral singing sensations.”

He recruited them to play themselves without a formal script. “It was almost like casting and writing were one process … I wanted it to be a love letter to the underdog. You never know who you’re sitting next to at the bar.”

‘Two People Exchanging Saliva’

(Misia Films & Preromanbritain)

In bold black and white, we find ourselves in a luxurious French department store. In this world, items are paid for by receiving slaps to the face. And the crime of kissing is punishable by death, raising the stakes as a young sales assistant bonds with a regular customer.

“We were writing in late 2022 and there was the reintroduction of the ‘Don’t Say Gay’ law in Florida,” says co-writer and co-director Natalie Musteata. “In a sense, it presaged the moment that we’re living through; we’re all living in the fever dream of Florida. But other things were influencing us — the policing of queer love through history; you open your phone and see these women [in Iran] being shot at for taking off their hijabs.”

Co-writer and co-director Alexandre Singh says Oscar winner Barry Jenkins told them, on selecting the film for a program he curated at the Telluride Film Festival, “ ‘When I first watched this in 2024, it was surrealist, satirical, almost farcical. I couldn’t imagine how much more relevant it could become, in a scary way.’ ”