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Sixth-year senior guard Chad Baker-Mazara, who spent most of this season as the Trojans top scorer, is no longer with USC’s men’s basketball program, the school announced Sunday.

A person familiar with the situation but not authorized to speak publicly said that it wasn’t any one incident, but an accumulation of issues that led to Baker-Mazara’s departure.

Baker-Mazara left Saturday’s loss to Nebraska a few minutes into the second half after he chased down a lay-in and fell hard on the court. USC coach Eric Musselman said after the game that Baker-Mazara told coaches he was unable to return to the game.

After lead guard Rodney Rice was lost for the season in November, Baker-Mazara stepped into the void as the Trojans’ top scorer, averaging 26 points per game over the remaining seven games of USC’s non-conference slate.

Baker-Mazara became less reliable through Big Ten play. Five times during USC’s conference schedule, he has played fewer than 20 minutes in a game, for one reason or another. At times, his health was what held Baker-Mazara back. Other times, it was less clear.

His exit on the doorstep of March is just another ominous sign for the Trojans, who have lost five in a row. USC has two games still remaining in its regular season slate, with a trip to Washington on tap Wednesday and a home tilt with UCLA next weekend.

It starts with the exclamation point, right there in the title. “The Bride!” is a wild, willfully over-the-top double-barreled reinvigoration of 1935’s “Bride of Frankenstein” that is always doing something a little extra in telling its unpredictable story of identity and the reclamation of the self.

“I probably can’t definitively explain it,” says writer-director Maggie Gyllenhaal about that punctuation. “I think I first just put it there and wondered when someone was going to tell me to take it away. And nobody ever did.”

Set in a dreamscape 1930s — imagine a steampunk-meets-art-deco version of “Bonnie and Clyde” — the film features a title performance by Jessie Buckley in three roles, sometimes in conversation with each other. First, there’s Ida, a Chicago party girl who is killed when she becomes an inconvenience to powerful men. Then there’s “Frankenstein” author Mary Shelley, taking possession of another person’s body and voice.

Finally, there’s the Bride herself, the rebellious, reanimated corpse of Ida brought back to life as a companion to a creature here known as Frank (Christian Bale). The duo sets off on a lovers-on-the-run-style crime spree that captures national attention.

On a February Los Angeles morning, Gyllenhaal moves briskly across the lobby of a low-key-chic hotel, barely breaking stride to ask that, instead of a discreet celeb-friendly indoor corner table, perhaps our interview could take place on an outdoor patio. She would like to take in a bit more California sunshine before returning home to wintry Brooklyn.

Dressed in a baggy suit that is both sharp and casual, Gyllenhaal doesn’t come across as particularly fussy but, rather, as someone certain of what she wants, even if what she wants is to explore the messiness of uncertainty, pushing the edges for herself and her collaborators.

Jessie Buckley in the movie “The Bride!”

(Warner Bros. Pictures)

Take, for example, that exclamation point. What might at first seem a bit of preciousness, and which even Gyllenhaal initially makes seem a bit of a throwaway, reveals itself to have a much deeper meaning.

“It wasn’t that it was careless,” Gyllenhaal says with a calm focus. “If you are Ida or Mary Shelley or many women in the world and you’ve been sort of tamped down and silenced and not able to express everything it is that you wanted or needed to express, it’s like if you’ve had your hand on a geyser. When the geyser finally breaks, it’s going to break with a whole lot of extra energy. And maybe that’s where the exclamation point comes from.”

“The Bride!” is the second feature film as writer and director for Gyllenhaal, 48, following 2021’s “The Lost Daughter.” That movie, a bracing examination of the psychological toll of motherhood, would go on to wide acclaim and awards recognition, including Oscar nominations for actors Buckley and Olivia Colman, as well as for Gyllenhaal’s screenplay (an adaptation of the 2006 novel by Elena Ferrante). Prior to that, Gyllenhaal had been known for emotionally fearless performances in films such as “Secretary,” “The Dark Knight” and “Crazy Heart,” for which she received a supporting actress Oscar nomination.

Deciding how to follow up “The Lost Daughter” wasn’t easy. Gyllenhaal says she went to a party and saw someone with a tattoo on their forearm of Elsa Lancaster‘s intense gaze from “Bride of Frankenstein.” Taken with the image, Gyllenhaal checked out the movie and was surprised to discover Lancaster’s iconic character was only in it for a few minutes. After reading the original novel of “Frankenstein,” she started to wonder whether Mary Shelley had other things on her mind at the time of her debut novel.

“I just had this fantasy,” she says with a slightly conspiratorial air. “I’m not speaking for Mary Shelley, but there must have been some other, naughtier, wilder, more dangerous things that Mary Shelley wanted to say that weren’t said in ‘Frankenstein.’ What else might she have wanted to express?”

Christian Bale and Jessie Buckley in the movie “The Bride!”

(Warner Bros. Pictures)

And so Gyllenhaal set about writing, with her “Lost Daughter” star in mind for the lead, though she initially didn’t tell Buckley. One of Gyllenhaal’s biggest learning curves in directing “The Lost Daughter” was figuring out how to speak to each actor individually to get the most out of them.

“With Jessie, I just spoke to her like I speak to myself,” Gyllenhaal said. “No translation needed.”

Reached via email, the “Hamnet” star evokes a Frida Kahlo painting to convey their closeness.

“We share two beating hearts,” Buckley says. “Maggie has absolutely been instrumental to waking me up to a part of myself I needed to know — and I think vice versa. We share a similar language and curiosity.”

Moving from the intimate scale of “The Lost Daughter” to the expanded scope of “The Bride!” was exciting for them both.

“I loved seeing her in a bigger sandpit,” Buckley says. “From ‘The Lost Daughter’ it was clear that Maggie had something to say as an artist. But where do we grow? What’s the scarier place? What are the questions we might whisper to ourselves? And what happens if we put those whispers into the ether?”

Gyllenhaal’s new film is unafraid to risk being too much. One extravagant party turns into a musical sequence that finds Bale’s creature singing and dancing to “Puttin’ on the Ritz” — a wink to a whole other self-aware frame of reference and Mel Brooks’ satirical 1974 “Young Frankenstein.”

“Sometimes it was too much too much — that’s the line I was trying to walk,” Gyllenhaal says. “I think so many women are told that we’re too much, over and over again, from the moment we get here. And so I’m used to that.

“But I think that scene is sort of about that. It’s about a kind of explosion of life and humanity. So much of the movie is about these people who cannot fit into their box. This is where they celebrate their bigness, their too-muchness, their monstrousness. That’s the monster mash: ‘I am who I am.’”

“Sometimes it was too much too much — that’s the line I was trying to walk,” Gyllenhaal says. “I think so many women are told that we’re too much, over and over again, from the moment we get here. And so I’m used to that.”

(David Urbanke / For The Times)

Making a purposefully idiosyncratic retelling of a classic tale came with its own challenges. “The Bride!” was originally scheduled to be released by Warner Bros. last fall, on the date that would eventually go to “One Battle After Another.” When a rescheduled March 2026 opening was announced, there were reports — “Beware ‘reports,’ ” Gyllenhaal tells me, wryly — of behind-the-scenes clashes between the director and the studio.

Gyllenhaal doesn’t deny that, to find the final version of the movie, she worked closely with Pam Abdy, who, along with Mike De Luca, is co-chair and co-chief executive of Warner Bros. Motion Picture Group. This time the stakes were higher, the filmmaker says, and being left to her own devices, as she had been on “The Lost Daughter,” wasn’t always the best solution.

“If I make a big, hot roller coaster of a movie and remain totally honest in what I’m trying to explore and think about inside it, will people respond? That was my question,” she says. “And then I cut it in a way that was entirely my expression. And I have to say in particular, Pam, who was my point person on this and also has become a friend, she really took me to task on that and said, ‘You want many people to respond and understand this. You have to clarify here and here.’ ”

Though Gyllenhaal admits there were moments of “friction” and that Abdy “has a slightly different agenda than I do,” she now sees the merit in the process. “Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal says. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”

In a phone interview, Abdy says, “Listen, she tasks me with challenging her, and I task her with challenging us. We’re all in the service of making the best movie we can possibly make for the audience. And we, privately, all of us — studios, directors, filmmakers — we go through a process. It’s unfortunate that certain people choose to assume they know what’s happening in those rooms. But they don’t.”

Abdy describes their collaboration as a healthy and normal one. “You test the movie, you get information, you make adjustments,” she says. “And we needed the time and space to do that.”

Maggie Gyllenhaal, right, on set with Jessie Buckley and Christian Bale while making “The Bride!”

(Warner Bros. Pictures)

The courage Gyllenhaal once exhibited as a performer now seems to be serving her as a filmmaker. The last feature Gyllenhaal appeared in as an actor was 2018’s “The Kindergarten Teacher,” playing an overzealous mentor to a young poetry prodigy. She also appeared in three seasons of the HBO series “The Deuce” from 2017 to 2019, in which she played an adult film performer struggling to move behind the camera into directing.

As to whether she will return to acting, Gyllenhaal says, “I don’t know. I really prefer directing. This is a better job for me.”

Better how? “I felt as an actress, to be honest, like I always would hit up against a wall of how much I was able to participate or express,” she says. “And I thought for a long time, OK, this is the gig, and what I have to do is learn how to protect self-expression, even if that means I just need a tiny bit of space around me where I have the real estate to do what I need to do as an actress.

“And then when I moved into writing and directing, I didn’t have to play that game anymore,” she says. “And also I could create an environment where nobody had to play that game. Anyone could explore and express the things that were interesting to them. It was ultimately up to me to decide if I wanted to use them or not. So why not let people explore and surprise me?”

Gyllenhaal’s “The Bride!” may catch the same current wave of pop-inflected Gothic-style romances as Emerald Fennell’s “Wuthering Heights” and Guillermo del Toro’s “Frankenstein.” A catchphrase that emerges in the film is “brain attack,” the Bride becoming a folk hero to women around the country who emulate her distinctive look: Jean Harlow by way of Courtney Love with an inky smear of makeup across the face.

There is something intuitively catchy about brain attack, even if it’s also a little bewildering.

Gyllenhaal remembers an “aspect of terror” about stepping into a bigger studio release. “So do most things that require that you really grow and learn in order to do them. But I’m interested in terror and so I guess I was playing around with the idea of heart attack, panic attack. And I think in order to really do that, some brain attacks are required.”

Gyllenhaal tells me how a few days earlier she had been wearing a hat with the phrase on it while reading by the hotel pool and three 20-something women, maybe a little day drunk, began asking her about it. Two of them seemed puzzled by the phrase, struggling to parse out its meaning, while the third instinctively got it. She just knew. So Gyllenhaal gave her the hat.

“I guess ‘brain attack’ is a phrase you might have to feel,” Gyllenhaal offers, her mouth widening into a smile.

So too, perhaps, with Gyllenhaal’s telling of “The Bride!” with its visions of reckless abandon and personal reclamation — exclamation point and all. It will become a movie waiting for those who need it.

Another winnable game was slipping away, another frustrating performance by USC unraveling in painfully familiar fashion, when Jaden Brownell lifted up from the corner for a wide-open three-pointer, offering a split-second of hope in an otherwise hopeless second half.

But the shot clanked away. A collective sigh from the cardinal-and-gold faithful rippled through Galen Center, only to be swallowed up seconds later when Nebraska’s Pryce Sandfort, who finished with 32 points, knocked down a three-pointer of his own. That’s when USC’s own arena exploded with a deafening Big Red roar, loud enough to make you forget you were in Los Angeles — or that these lifeless Trojans had once looked like a real NCAA tournament team.

There were still more than nine minutes remaining after that in Saturday’s brutal 82-67 loss, though that roar from the Nebraska faithful might as well have been the exclamation point. Whether it becomes the punctuation mark on a frustrating second season for USC under coach Eric Musselman was still to be determined.

The Trojans have lost five consecutive games as of Saturday and sit in a tie for 11th in the Big Ten. They still have two regular-season games remaining to bolster their middling tournament resume, both of which they can ill afford to lose.

A midweek matchup at Washington looms especially large. A loss to the Huskies, who are 14-15, would make climbing back from the bubble brink especially harrowing. A rivalry rematch awaits after that against UCLA.

“I still think we could have a successful season,” forward Terrance Williams II said Saturday . “I had that positive mindset coming into the season. I still have that positive mindset. The season’s not over. … We can change the trajectory of the season very quickly.”

Nebraska forward Pryce Sandfort (21) drives past USC forward Terrance Williams II (5) during the first half Saturday.

(William Liang / Associated Press)

Nothing, though, about Saturday’s second half suggested USC was poised for positive change.

The Trojans positioned themselves in the first half to make a very different statement Saturday. They took advantage of foul trouble from Nebraska point guard Sam Hoiberg and led by five points at halftime. Chad Baker-Mazara had already poured in 14 points, and they barely needed freshman Alijah Arenas, who was left out of the starting lineup and played only nine minutes.
“They had belief,” Musselman said.

Yet after shooting 52% from the field in the first half, the Trojans were suddenly unable to find the target in the second. For the first five minutes of the half, a dunk from Jacob Cofie was USC’s only basket. During another five-minute stretch in the second half, USC couldn’t even manage a dunk.

Its issues only got worse when Baker-Mazara fell hard trying to block a lay-in. He didn’t play the rest of the game, as Musselman said Baker-Mazara told the staff he was unable to go.

“They played great in the second half,” Musselman said, “and we did not play very good.”

The Trojans didn’t fare much better on the glass, either, as Nebraska more than doubled USC’s total rebounds (22 to 10) after halftime.

The defense followed suit, with Nebraska piling up points in the paint at will. Sixteen of the Huskers’ first 20 points in the second half came on either dunks or lay-ins as USC’s defense lacked any semblance of urgency.

“I feel like they came out with more energy to be honest,” Williams said. “The first couple possessions, you could see it. They wanted it more than we did.”

How that’s still the case, after several similarly frustrating second halves this season, is still unclear.

“Second halves, they’re hard,” Brownell said. “We have to accept that and get ready quicker in the locker room, get our mental right and then come in and be ready.”

But with the Trojans on the very brink of the tournament bubble, time is quickly running out on that possibility.

It’s a Wednesday afternoon in West Hollywood, one day after the city was blanketed in a light coating of rain. The midday sun has only just begun to peek through the overcast sky.

Its beams are slightly more vivid through the large windows of the Edition, which sit at the edge of a secluded area of the hotel. Jamie Hewlett sits at a wooden table stirring a cappucino with a black straw.

“I mean, who drinks out of a straw when you get past the age of 10, right?” he says, jokingly. After 25 years of bouncing around the globe with Gorillaz, he’s still longing for a jet lag cure. Coffee can only do so much.

Leaning back in his chair, in a suave, all-beige outfit, he starts to grin while recounting his day in Los Angeles.

“We’ve been walking around the streets having a very rare morning off together. We bought some weed, which is always one of the most wonderful things about this state,” he recalls.

He also finds humor in L.A.’s obsession with driver-less food delivery.

“Every time we saw a post-bot driving down the road, we stopped and doffed our caps. … In the future, when robots take over and destroy us all, they’ll remember me for being nice to the post-bot!”

It’s been a long few weeks for Hewlett and bandmate Damon Albarn as they roll out the group’s latest endeavor, “The Mountain,” out Friday. Just one day prior, “House of Kong” opened at Rolling Greens in downtown L.A. The exhibition, initially intended as a Gorillaz 25th anniversary event, has landed on the West Coast.

“I think with this album, we were both quite happy with what we’ve done … and feeling like it was an honest, genuine adventure that was taken, and what we’ve given is something that we’re proud of,” Hewlett says.

He and Albarn are also artists at heart and in nature. It’s why Gorillaz continues to look and sound the way it does, and why the group is consistently pushing the agenda of how a nonexistent band can still resonate with a group of fans who are very much alive.

“The process, the research, the putting it together, the making of it is really fun, and the delivery of it is kind of like a mini death syndrome,” he says. “What you’re required to do is get straight on to the next thing, and you won’t have any time to waste thinking about the fact that the completion of that left you feeling numb, because then you’re excited about the next project.”

He adds that Albarn, similarly, is like a “kid in a sweet shop” when he’s making music: “The moment it’s finished, there’s no interest in discussing it.”

Even so, the album is undeniably their most intimate in recent history.

Perhaps it’s something to do with the experience of grief that the two lived through, losing their fathers only 10 days apart and just before a trip to India. Or maybe it’s a testament to the process behind “The Mountain,” which saw Hewlett and Albarn travel the country, spending more time together there than during previous album productions.

“It’s weird, because I’m born 10 days after Damon… the idea presented itself, and at that point we were going down that road, and there was no avoiding it… It wasn’t even necessarily going to be a Gorillaz project; ‘Let’s go together and see what happens.’ ”

“I completely fell in love with the place and got into their whole concept of death,” Hewlett says of India.

(Blair Brown)

Hewlett says the album was also inspired by his late mother-in-law, Amo, who was diagnosed with cancer in 2010 and opted for Eastern medicine instead of chemo.

“She said, ‘No, I’m going to India.’ … She was into Ayurveda medicine and knew this doctor, and she spent three months in India [being treated]. When she came back, her cancer had gone. In France, they call her in for a checkup, and they give her a scan. They say, ‘Where’s your cancer gone?’ She said, ‘I’ve been in India,’ and they say, ‘We don’t believe in that.’ ”

It wouldn’t be until 2022 when Jamie visited India himself, under unfortunate circumstances. He was in Belgrade with Albarn shooting the second video from “Cracker Island” when he received a call from his brother-in-law, who said that Amo had just had a stroke.

“They said they saved her, but she went into a coma. I was on a plane to India as quickly as I could get a visa, which wasn’t easy at the Indian Embassy in London,” he said. “I spent eight weeks with my wife, Emma, in Jaipur, dealing with that, in a public hospital during a pneumonia epidemic… having that experience that was traumatic; it should have been a reason for me to never go back to India ever again.”

But during his time there, it became clear that being in the country had the opposite effect on him.

“I completely fell in love with the place and got into their whole concept of death. … We met a lot of families who became friends of ours because we were at the hospital every day,” he continued.

“A loved one who was dying, who was in tears because they knew they were going to die, but also there was a celebration about the fact that they were coming back,” he said. “Their understanding of the cycle of life is a lot more appealing to me.”

Shortly after, Hewlett returned to Europe and went straight to Albarn with an idea: “I said, ‘We have to go to India, it’s so amazing,’ and of all the places he’d been around the world, that was the place he still hadn’t been. So we decided to go.”

Albarn first visited India in May 2024 alongside Hewlett.

(Blair Brown)

“The Mountain” is, as expected, heavily doused with notions on the concept of death. Inevitably, the question arose: “How can we make an album about death that would leave the listener feeling optimistic?”

But Gorillaz has always been a group entwined with different, equally heavy topics. On “Plastic Beach,” they tackle the climate crisis and human extinction. The enchanting and rhythmic “Dirty Harry” also examines war and soldiers, with its single cover even giving a nod to Stanley Kubrick’s “Full Metal Jacket.”

The tone Gorillaz achieved on “The Mountain” is an extension of that.

“The Happy Dictator,” released as the lead single in September, parodies megalomaniac Saparmurat Niyazov’s approach to governing in Turkmenistan. As Sparks produce stunning vocals, singing “I am the one to give you life again,” Gorillaz fictional frontman 2-D (voiced by Albarn) breaks in to pronounce, “No more bad news!”

Equally as enjoyable is “The God of Lying,” the third single released, featuring Idles. Joe Talbot hauntingly asks, “Do you love your blessed father? / Anoint by fear of death / Do you feel the lies creep on by? / As soft as baby’s breath.” It’s a bouncy song that could have been pulled straight out of the band’s self-titled debut, all the way back from 2001.

Even so, it feels criminal to compare it with the band’s earlier catalog, given that Hewlett and Albarn are artists in “perpetual motion.” This has resulted in some of their most sonically and visually impressive work — with styles and genres consistently shifting — but also asks the listener to be willing to evolve with them.

“I think art has to be an evolution,” Hewlett explains. “I know what David Hockney does at 88 years old, still smoking and drinking his red wine. He wakes up every day … and he does something new, and then the next day he does something new, and that promotes longevity. He’s never bored.”

Gorillaz’s exhibition in “House of Kong” seems to be contradictory in its existence, more or less serving as a retrospective from a band that not only doesn’t like to look in the rearview, but likely has it taped over altogether.

But it’s also an organic experience, teeming with originality, despite its familiar marketing as an “immersive experience.” It’s more comparable to something out of a Disney or Universal theme park than another gallery that merely projects video onto a wall.

“Down here at Kong, we are creating something that … only really existed in Jamie’s drawings and animations and in the minds of the fans of Gorillaz,” says Stephen Gallagher of Block9. He served as creative director on the project but has worked with the band since 2018 and previously collaborated with Banksy for his “The Walled Off Hotel” and “Dismaland.”

“I’d had this idea already: ‘What about if we built a film studio, and then you could do a backstage tour, and you’re seeing behind the scenes of the making of all of these music videos?’ ” he continued. “Then that evolved, and it became the ‘House of Kong.’ ”

As for why the exhibition landed in L.A. for its second showing, Hewlett compares the city to Shanghai when it was “still free and decadent and swinging.”

“I love L.A. … I love it. I’ve been coming here since I was 19 years old. … L.A. might be the last one [showing], to be honest,” he says. “All that stuff in the exhibition belongs to me; this is part of my lifelong collection of weird s—!”

“I’d love to get it back at some point,” he jokes.

The U.S. has used LUCAS kamikaze drones for the first time in combat, U.S. Central Command acknowledged on Saturday. The drones, based on the Iranian Shahed-136, were launched from the ground by Task Force Scorpion Strike (TFSS). The task force was set up in December “to flip the script on Iran,” a U.S. official told us at the time. The launch of LUCAS drones marks a rare instance when the U.S. adopted Iran’s drone playbook and used it against them.

Today’s strikes were part of Operation Epic Fury, an attack the U.S. launched along with Israel on targets across Iran. You can read more about that in our initial story here.

The War Zone has advocated for the procurement of this exact class of drone by the American military.

The LUCAS drones are designed to be a far less expensive strike weapon than missiles, which not only cost more, but are far more difficult and time-consuming to produce.

“Costing approximately $35,000 per platform, LUCAS is a low-cost, scalable system that provides cutting-edge capabilities at a fraction of the cost of traditional long-range U.S. systems that can deliver similar effects,” Navy Capt. Tim Hawkins, a CENTCOM spokesperson, told TWZ back in December. “The drone system has an extensive range and the ability to operate beyond line of sight, providing significant capability across CENTCOM’s vast operating area.”

In addition, the LUCAS design includes features that allow for “autonomous coordination, making them suitable for swarm tactics and network-centric strikes,” a U.S. official told us. As we have explained in detail in the past, the swarming capabilities combined with some of the drones being equipped with Starlink terminals, means extremely advanced cooperative tactics and dynamic targeting are possible, all while keeping humans in the loop.

The LUCAS drones have “an extensive range and are designed to operate autonomously,” CENTCOM said in a press release announcing the creation of Task Force Scorpion Strike. “They can be launched with different mechanisms to include catapults, rocket-assisted takeoff, and mobile ground and vehicle systems.”

Though the LUCAS drones fired against Iran were ground-launched, U.S. Navy personnel in the Middle East test-fired one from the Independence class Littoral Combat Ship (LCS) USS Santa Barbara. This came two weeks after the U.S. military announced the formation of Task Force Scorpion Strike.

Overall, the LUCAS drone’s core design was based directly on the Shahed-136, a U.S. official told us.

“The U.S. military got hold of an Iranian Shahed,” according to the U.S. official in December. “We took a look and reverse-engineered it. We are working with a number of U.S. companies in the innovation space.”

“The LUCAS drone is the product of that [reverse-engineering] effort,” the official added. “It pretty much follows the Shahed design.”

As we have explained for years, the Shahed was based on an Israel concept, which also has roots in a German concept. So it is a complicated lineage for sure.

The LUCAS was designed by SpektreWorks. Its website provides basic specifications for a related target drone design called the FLM 136, which has a stated maximum range of 444 miles and can stay aloft for up to six hours. Its total payload capacity, not counting fuel, is 40 pounds, and it cruises at a speed of around 74 knots (with a dash speed of up to 105 knots). Whether these details reflect the capabilities of the operationalized LUCAS design is unclear.

In contrast, the baseline Shahed-136, which is powered by a small 50-horsepower internal combustion engine, has a top speed of around 100 knots (185 kilometers per hour) and a maximum range of approximately 1,242 miles (2,000 kilometers) while carrying an 88-pound (40-kilogram) warhead, according to the U.S. Army’s Operational Environment Data Integration Network (ODIN) training portal. It was designed to strike static targets based on targeting data programmed in before launch.

Iran has shown additional versions over the years. The Shahed-238 has new guidance systems, with radar and electro-optical/infrared guidance and jet power. Earlier Shahed versions primarily employed a combination of inertial and GPS navigation to hit fixed targets.

از موشک کروز ابرفراصوت فتاح2 و پهباد شاهد 147 با حضور رهبر انقلاب رونمایی شد

Russia also now produces a still-expanding array of variants and derivatives of this design, referred to locally as the Geran. Iran and Russia have both been notably working to integrate more dynamic targeting capabilities into their respective versions of the drone.

The use of the LUCAS comes as Iran has launched its Shahed-136 drones against targets across the Middle East and highlights the limitations of air defenses. Even IDF’s multi-tier integrated air defense system, the most advanced one on Earth, and U.S. ground- and sea-based air defense systems around the Middle East do not offer complete protection against these and other weapons.

Iran used Shahed-136s to successfully strike the headquarters of the U.S. Fifth Fleet in Manama, Bahrain.

LOTTIE Moss has revealed she’s in hospital for the second time this week, leaving fans worried.

The model, 28, who is the half-sister to Kate Moss, first revealed earlier this week that she was in hospital and shared a picture of her food in a medical boot.

However, she didn’t reveal what had happened to it.

Now, Lottie has taken to her Instagram Stories to reveal she’s back in A&E just days later.

Recording herself in the waiting area with boyfriend Themy Kalaitzis, Lottie had her hair bundled into a messy ponytail and a grey jumper on.

“Saturday dates,” art advisor Themy said to the camera, as Lottie laughed.

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She captioned the post: “Guess who’s back in A&E second time in 1 week”.

Lottie again didn’t divulge what is wrong or the reason behind her hospital visit.

However, she did seem to have a dishcloth wrapped around her hand, with Themy holding it securely on.

Just four days prior, Lottie snapped a picture of her foot in a medical boot and wrote “FML”.

The star revealed her new romance with Themy last month, with the pair posting loved-up Instagram Stories and TikTok videos since.

She was previously in a relationship with musician Evan Campbell, but they split in June 2024.

Lottie has followed in her half-sister’s footsteps with a modelling career, and was also a star of adult-only subscription site OnlyFans.

But in 2024, the star revealed she had quit the adult content website after falling out with her family over it.

She said: “I lost a lot of friends from the modelling industry.

“My mum didn’t speak to me for weeks and my family was a little bit in turmoil over it.”

WE were all set for a summer beach holiday until a massive passport mishap saw my poor son turned away at the airport check-in desk.

So to make it up to him, I took him to Disneyland Paris — but in the depths of winter, would it be a hit?

As the mercury plunged across Europe, Rufus and I set out to enjoy a “tropical” break at Europe’s most famous theme park.

Tropical? Well, Disneyland Paris has 300,000 plants which create microclimates and as we wander in, the Arctic chill noticeably lessens. It is actually HOTTER in Disney than outside.

But how do the prices compare to sand, sea and sunshine?

January, February and March are certainly the best time to go for value.

HOLIDAY’S OVER

UK travel company known for selling trips to Disneyland forced to close

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In March this year, stays in a Disney hotel cost from £132pp per night including park tickets, which is a darn sight cheaper than the Christmas and summer peak times.

And the post-Christmas drop in park attendance also means shorter queues — great when you’re with youngsters.

The tropical holiday style of much of Adventureland extends beyond the themed music and decor.

Home to the Indiana Jones And The Temple Of Peril roller coaster, it is a medley of the Africa of The Lion King, the Caribbean of Pirates Of The Caribbean and the Agrabah of Aladdin. All are brought to life with tropical bamboo, ferns and palm trees.

Not that I’ve got much time to appreciate the foliage, as Rufus drags me from one big ticket roller coaster to the next.

After tackling the multiple loop-the-loops of Star Wars Hyperspace Mountain and Avengers-themed Flight Force plus the pitch-black twists and turns of Crush’s Coaster, I decide we need a break. Despite Rufus’s insistence that the Mickey the Magician show is going to “babyish”, he loves it.

The 20-minute song medley is like a mini West End show, bringing the classic film hits to life, with can-can girls in gold frilly knickers playing the tableware in Beauty And The Beast and dancers weaving through the crowds operating giant puppets of giraffes, zebras and tropical birds to the Lion King soundtrack.

Thoroughly thawed out, we tackle the Tower Of Terror — even scarier in the fading light.

As we rattle around on my favourite ride, Thunder Mountain’s runaway mine train, we soak up great views of faux-gothic Phantom Manor and the beautifully lit steamer which pootles up and down the lake.

We scoff chocolate churros while watching the early evening Disney parade.

By the time it hits 6pm it’s time for a stiff drink — not to mention a sit down which doesn’t involve over-the-shoulder straps.

So we head to the Pirates Of The Caribbean restaurant, whose pina colada cocktails, humid air and splashes of the river ride moving past us add to the holiday vibes.

After this brief pit stop, we then make the most of the shorter evening queues, racing around everything from Spider-Man Web Adventure to the gentle joys of Peter Pan’s Flight over a minature London.

By 8pm we’ve done 22,000 steps and it starts to rain, but we dodge it by navigating the Victorian-style gas-lit arcades which connect different areas on Main Street USA.

Mercifully when it gets to 10pm, the rides shut. Sixteen roller coasters down, and I’m barely standing.

I’m not a big fireworks fan — too many years of my dad coming close to danger in the back garden — but the Disney display is incredible.

The clever drones and laser projections diminishing the firework fear factor.

When the show comes to a close, I’m glad we only have to stagger ten minutes back to our hotel in the park, the superhero-themed Hotel New York, The Art Of Marvel.

Not that Rufus’ energy or enthusiasm are at all dampened by either the weather or the marathon we’ve walked. As we fall into our beds, he’s already begging me to bring him back next year.

The summer’s passport disaster is a distant memory. Turns out we didn’t need a beach for a fab holiday.

Winter at Disney is the hottest ticket in town.

WASHINGTON — A crowd gathered at a commuter gate at Reagan National Airport on Friday as fog-laden Washington skies caused an hourlong ground stop that backed up passengers hoping to head out from American Airlines’ Terminal D.

But soon the already densely packed area swelled even more, as word spread across nearby gates that, of the hundreds of air travelers coming and going, only one among them was accompanied by a U.S. Secret Service detail, along with uniformed local police officers: former President Biden.

Biden, who has rarely made public appearances since leaving office last year, sat, like many of his fellow passengers, awaiting a flight that would take him to Columbia, S.C., for an evening event with the South Carolina Democratic Party.

Passengers whispered and gaped in wonder: Why would a man who for a time was leader of the free world be, like they were, at the mercy of airport travel delays, even as he sat ensconced in his security detail?

Maybe for Biden it made more sense than for some other former presidents. Known for years as Amtrak Joe, Biden as a senator prided himself on becoming arguably the nation’s biggest Amtrak fan, regularly taking the train home to Delaware rather than taking up residence in Washington. Now, as a former president, he’s been spotted riding the rails since, taking selfies with and chatting up his fellow passengers.

On Friday, the vibe was about the same, as Biden — seated in the third row of the tiny first class cabin on the commuter jet — boarded the flight ahead of other passengers, along with his detail, members of which were spread throughout the plane.

“God bless you, sir,” one woman said, as she filed past Biden in his window seat, newspaper in his lap.

“Thank you for your service,” a man said, shaking Biden’s hand.

The woman who took the aisle seat next to the former president first set down her coffee on the arm rest they shared, deposited a bag in the overhead compartment, then sat down and realized her seatmate was the nation’s 46th president.

Biden set his hand on her cup to steady it, then met her gaze with a hello as she took her seat.

“I feel like I’m about to cry,” the woman said, as they shook hands and, over the course of the next hour, chatted throughout the flight.

Former presidents and their spouses receive lifelong Secret Service protection under federal law, but there are no provisions guaranteeing the elite levels of private travel that were necessary features of their time in office.

Kinnard writes for the Associated Press.

As a powerful blizzard blankets the East Coast in snow, another force of nature is preparing to take over the chilly streets of Manhattan.

Los Angeles-based singer-songwriter Gaby Moreno will make her Broadway debut as Persephone, the leading lady of Anaïs Mitchell’s Tony Award-winning musical “Hadestown,” beginning Tuesday at the Walter Kerr Theatre in New York City.

Exploring themes of climate change to a New Orleans jazz- and American folk-laden soundtrack, “Hadestown” — a retelling of the Greek myths of Hades and Persephone, as well as Orpheus and Eurydice — will open just as New York transitions out of the harsh winter. Moreno, 44, takes a video call from The Times during her second day of rehearsals, as she is learning how to play Persephone, goddess of spring — and in this play, a wine-drunk lush.

“For the first few minutes I was like, ‘Can I do this? I feel like a klutz,’” she says of her character’s flailing steps, meant to distinguish the inebriated goddess, who splits her time between the underworld and the surface of the Earth.

“I’ve never been drunk because I don’t like the taste of alcohol,” says Moreno, giggling. “But there’s a lot of numbers where I’m drunk-singing and dancing around, so that’s the acting part.”

As a theatrical performer of her own songs, Moreno feels firmly in her element on Broadway. But she arrives as a decorated musician who has woven Latin American, blues and soul traditions into nine bilingual albums — including her 2024 Grammy Award-winning acoustic album “X Mí.”

For Moreno, who was born in Guatemala City, passion for musical theater was seeded during a trip to New York City with her family when she was 13 years old. That’s when they saw “Les Misérables” and “The Phantom of the Opera” on Broadway.

“I went back home [to Guatemala] thinking, this is a dream of mine,” she recalls.

But the trip to the Big Apple also illuminated another path for Moreno. Then just a starry-eyed Catholic schoolgirl, she remembers walking down Times Square and hearing a woman singing in the streets in a style unknown to her. Curious, she went up to the busker to ask her what type of music she was singing; it was the blues, she says.

Moreno scored blues compilation albums she would bring back to her native Guatemala. Locked in her bedroom, the first track that played was Koko Taylor’s 1965 rendition of “Wang Dang Doodle,” the party anthem originally composed by Willie Dixon.

“That’s the moment I’ll never forget,” says Moreno.

She would absorb every cadence of the African American folk genre, transfixed by the bewitching vocals of 1920s blues icons like Bessie Smith and Ma Rainey, as well as luminous jazz ballads by  Ella Fitzgerald,  Billie Holiday and Nina Simone.

“Every musician should always try to find the roots to see where all that comes from,” says Moreno of her early musical explorations. “You might discover something completely new.”

Growing up as the proud daughter of Lucy Bonilla, one of Guatemala’s most charming radio broadcasters, Moreno starred alongside her mother and sisters in a series of cheeky Salvadoran seasoning commercials. She even recorded voice-overs for Central America’s most beloved chicken restaurant chain, Pollo Campero.

At 10 years old, she performed as an opening act for Ricky Martin in 1991, to the credit of her father, a concert promoter who reeled international stars to Guatemala.

“It was such a wonderful experience. I got to discover that I loved singing on stage,” says Moreno, who sang Disney songs as well as her own compositions. “I felt right at home.”

Yearning to start a music career in the States — “that’s where the [music I like] comes from,” she says — Moreno recorded a cover of a popular Guatemalan waltz called “Luna de Xelajú.” Her mother sent her demo to a producer in Miami, who then linked the young singer to a music manager in Los Angeles.

At 18 years old, she signed a recording contract with Warner Brothers and moved to L.A. There she enrolled in the Musicians Institute’s Vocal Certificate program, which allowed her to apply for a student visa and remain in the U.S.

With a deep passion for American blues and folk traditions, Moreno wondered if she could integrate those sounds with elements of Latin American folk music. But her label discouraged her from doing so, believing it would “confuse [the] audience,” she says.

“It took a while for me to find my own voice and to find where I belonged in this music world,” says Moreno. “Because at the beginning, [labels] were telling me you can’t sing in both languages — you gotta pick a lane.”

Following a disastrous 2001 merger between AOL and Time Warner, Moreno’s recording contract fell through. She later signed with Epic Records under Sony Music Entertainment — then run by Chairman and CEO Tommy Mottola — but they dropped the singer, following the decline in CD sales and rise of digital file-sharing sites like Napster and Limewire.

“I didn’t even get past recording an album,” she says of this period in her life.

Behind the scenes, Moreno formulated her own Spanish-language takes on jazz, which listeners can hear in the 2006 funky, spy-like chromatic track “Escondidos” — which includes a kazoo solo in its outro. The enigmatic song earned her the Grand Prize in the John Lennon Songwriting Contest that year, making it the first time a Latin category took home the top prize.

“People kept telling me what to do, how to sound, what kind of music I should do, how I should dress. Blah, blah blah,” says Moreno when she was under a label. “At some point I said, ‘Screw it.’”

With nothing to lose — and no label looking to strip her of tender heart and free spirit — Moreno saw an opening to release music independently on MySpace, where she uploaded her 2008 debut album, “Still The Unknown.” (Much of Moreno’s music is still archived on the social network.)

“If all should fail you, there’s still the unknown,” sang Moreno with a warm, coffeehouse-friendly cadence in the title track.

“Maybe it’ll work out, maybe it won’t, but at least I’ll be doing something that I really love,” she adds, looking back on that time. After its debut, she says she gave a copy to her friend, composer Patrick Warren, who was touring with Tracy Chapman. The “Fast Car” singer heard the LP and asked Moreno to open for her Our Bright Future tour in the summer of 2009.

“It was just me and my acoustic guitar, going with [Chapman] for three weeks all over the U.S.,” says Moreno.

Moreno’s ingenuity as an independent bilingual creative allowed her to freely partake in various opportunities in entertainment. Some might recognize her bubbly folk theme from the NBC mockumentary sitcom “Parks and Recreation,” which stretched across seven seasons between 2009 and 2015.

Others might recall her smokey vocals in the song “Mal Hombre,” as featured in Guillermo del Toro’s “Cabinet of Curiosities” — or in the final season of Netflix’s “Orange is the New Black” which featured her heart-wrenching cover of the traditional Mexican huapango “Cucurrucucú Paloma.” She can also be heard in the 2022 animated film “Puss in Boots: The Last Wish,” singing a swooning ballad titled “Por Que te Vas.”

Still, Moreno declares she hasn’t found mainstream success as a musician.

“I’m perfectly fine with that. I am so happy at this point in my life where I can make music for a living, [which is] hard to do as an independent artist,” she says.

For an indie artist, Moreno boasts an impressive slate of accolades. She’s earned three Grammy nominations, including in the category of Latin pop album in 2017 for “Ilusión” and Latin rock/alternative album in 2022 for “Alegoria.” In 2024, she finally took home the gramophone for Latin pop album for her album “X Mí (Vol. 1),” an acoustic medley of all her previously recorded songs, including the song that started it all: “Luna de Xelajú.”

“She’s powerful the way that water is flowing and it’s light, but it’s unstoppable and effervescent,” says award-winning actor Oscar Isaac.

A Guatemalan-born musician himself, Issac befriended Moreno in 2013. Emmy-nominated for his role in “Scenes From a Marriage,” the actor was in town for the 2022 awards show when he and Moreno recorded “Luna de Xelajú” at the Palace Theater in downtown L.A. The two would later perform the ballad live on The Tonight Show Starring Jimmy Fallon in 2024.

For Isaac, the stresses of everyday life melted away when the two got to jam together. They’ve performed a handful of times over the years, including live at the Lincoln Center for its American Songbook series in 2019.

“When I think of her, she feels very much like home,” he adds.

Guatemala — which is also known as the “Land of the Eternal Spring” — is always on Moreno’s mind.

Last year, she starred in “Lamento,” a musical short film made inside an abandoned Guatemalan beach resort; once a popular seaside destination known as Turicentro Likin, it is now tucked away behind the mangroves. Starring a stacked Guatemalan cast, including actor Tony Revolori, the project underlined the encroaching impacts of climate change that corrode once treasured memories, including those of Moreno, who grew up visiting the vacation destination.

“It’s something that brings me joy to work with people from my country,” she says.

It was only fitting that the folk-soul singer would be selected to represent Persephone in “Hadestown” — a victim of environmental destruction, yet whose duality brings life and prosperity back to a world that is constantly freezing or aflame.

Yet before she can truly represent both the queen of the underworld and goddess of spring, Moreno must first survive the gauntlet that is the New York winter.

“One thing I can tell you is: I cannot wait to bring on the spring,” she says.

The 10th summit of the Organization of Turkic States (OTS) was held on November 3 in Astana, the capital of Kazakhstan. The main theme of this year’s summit was ‘Turk Time’. The organization, which has set goals such as the long-term Vision of the Turkic World 2040 and the short-term Strategic Roadmap of the OTS 2022-2026, has added a new vision with ‘Turk Time’. So, is the Turk Age possible in the 21st century? Could Turks become an effective political center in the new era? Is Turk Time just a slogan? Or is it based on reality?

Turmoil in the Current Global System gave birth to the Organization of Turkic States

The 2008 economic crisis, the COVID-19 pandemic, and the weakening of United States (US) hegemony that emerged with its military withdrawal from Afghanistan and Iraq left great chaos and a vacuum in international order.[1] Especially with the COVID-19 pandemic and the US debt ceiling crisis, the US hegemony tool, dollar hegemony, has suffered a major shake-up and has become controversial.[2] This vacuum and chaotic environment triggered an effort to build a new alternative order for countries that were uncomfortable with the existing international order, and to gain a position in the new order to be established. As the rise of Asian economies continued in the global economy, organizations such as the Shanghai Cooperation Organization and BRICS accelerated the construction of an alternative multipolar order. The world was divided into two camps: defenders of the old unipolar world order and proponents of the new multipolar world order. The weakening of US hegemony and global chaos paved the way for the OTS. The transformation of the organization in 2021 coincided with the US troop withdrawal from Afghanistan and Azerbaijan’s victory in the Second Nagorno-Karabakh War.

Turkey, in particular, plays a decisive role in the OTS. In recent years, Turkey has experienced sharp ruptures in its relations with the US, EU, and NATO. The weakening of Turkey’s relations with the West is a reflection of the decline of US hegemony in the global order. At the same time, Turkey’s increasing cooperation and friendship with Russia and China played a positive role in the establishment of the OTS. The organization should be seen as an attempt to become part of a multipolar world order. For example, Turkish President Recep Tayyip Erdogan’s statement that the world is bigger than five is an expression of the need to build a just multipolar world order. As the Turkic states increase cooperation, trade, and prosperity among themselves, they serve regional peace and the establishment of a just order. With the OTS, Turkey aims to increase prosperity in the region, improve infrastructure, maintain a common culture, and increase its defense and counter-terrorism cooperation capabilities. Turkey’s objectives in the OTS in Central Asia are an effort to take part in a multipolar world that will strengthen peace and prosperity. President Recep Tayyip Erdogan aims to continue the Turk Time with Turkey and for the Turkic world to become the world’s rising power.[3] Turkey wants to be a subject, not an object, in the multipolar order. In sum, Turkey is trying to play a stronger role in the new international system to be established by establishing good relations with the advocates of the multipolar world order.

Organization Strengthens by Institutionalizing

After the transformation of the Cooperation Council of Turkic Speaking States into the OTS with the Istanbul summit in 2021, the organization entered the process of building a stronger institutional infrastructure. Analyzing the outcomes of the Astana Summit, efforts to complete the institutionalization of the organization stand out. This year, the organization continued to increase institutionalization in areas such as the Civil Protection Mechanism, the Turkic Judicial Training Network, the Union of Notaries of the Turkic World, the Turkic Investment Fund, and the Organization of Trade Unions of Turkic States. The final declaration expresses satisfaction with the activities carried out within the framework of the organization in one year.[4] For example, the Alliance of Turkic News Agencies (ATNA) was established after the summit between Turkey’s news agency Anadolu Agency (AA), Azerbaijan State News Agency (AZERTAC), Kyrgyz National News Agency (Kabar), Uzbekistan National News Agency (UzA), and Kazakhstan’s news agency Qazcontent. After the establishment of ATNA, Binali Yıldırım, Chairman of the OTS Council of Elders, said: “We aim to bring the truth to the people in the fastest way and to prevent colonialist countries from covering the events. Serdar Karagöz, who was elected president of ATNA, emphasized the importance of combating disinformation.[5] In short, in the field of media, OTS has placed establishment of a media network that will challenge the media of the unipolar world and represent the oppressed at its center. During the next few years, it is possible to predict that the organization will institutionalize in various fields.

The organization Aims to Strengthen Trade

There are two important cooperation areas between the member states of the OTS. The first is the development of cooperation in the energy field. Turkic states are rich in valuable minerals such as energy, natural gas, oil, and uranium. Therefore, the member states of the organization tend to deepen their cooperation in the field of energy. The second meeting of the OTS Working Group on Energy Cooperation of the Ministers Responsible for Energy of the OTS was held on September 28, 2022, in Almaty, Kazakhstan. The parties adopted the OTS Energy Cooperation Program and the related action plan for 2023-2027, which includes the exchange of information and ideas on legislation and national programs in the energy sector, renewable and alternative energy sources, fossil fuel energy, nuclear energy, energy efficiency, dissemination of new technologies, capacity-building programs, and enhancing cooperation in the international arena. Turkish Foreign Minister Hakan Fidan emphasized the importance of making efforts to make the Middle Corridor even more attractive for investment and to transport trans-Caspian resources, particularly Turkmen gas, to Turkey and Europe. Strategic energy infrastructure projects such as the Organization, Baku-Tbilisi-Ceyhan, Baku-Tbilisi-Erzurum, Southern Gas Corridor, Trans Anatolian Natural Gas Pipeline Project (TANAP), and Trans Adriatic Pipeline Project (TAP) contribute to the prosperity of Turkic states and European and global energy security. [6]

The second is to take steps to strengthen trade along the Silk Road belt. The member states of the OTS had a trade volume of $ 700 billion. However, only $ 18 billions of this trade volume is carried out among the member states themselves. This situation is the main driving factor in the establishment of the organization. Because Turkey and the member states are determined to develop trade among themselves. The member states of the organization focus on removing or facilitating trade barriers among themselves. Eliminating trade barriers and providing infrastructure investments on roads. In this respect, there is no other way but to work in harmony with the Belt and Road Initiative of the OTS. The implementation of the Action Plan for the Implementation of the 2023-2027 OTS Transport Connectivity Program adopted at the Astana summit is expected to significantly increase the transit potential of the Middle Corridor and make Caspian transits smoother.

The establishment of the Turkish Investment Fund was on the agenda at the Istanbul Summit. During the two-year period of the organization, sub-commissions carried out infrastructure work to establish the Turkish Investment Fund. On March 16, 2023, the Agreement on the Establishment of the Turkish Investment Fund was signed at the Extraordinary Summit of the OTS held in Ankara. Before the Astana summit, Turkey voted the proposal for the establishment of the Turkish Investment Fund as a law in its parliament: “The capital participation commitment of the Republic of Turkey to the Turkish Investment Fund and the payments to be made within the framework of this commitment cannot exceed the equivalent of USD 100,000,000.[7] The President is authorized to increase the amount up to five times.  Thus, the OTS has gained an institutional structure to finance its investments among itself. All of these developments are efforts to increase the economic trade volume of the organization and strengthen economic cooperation.

Russia, Iran, and China should be part of the OTS

The fate of Turkic states depends on the revival of the Silk Road and the Belt and Road Initiative. Historically, trade flowing from China to Europe via the Silk Road played an important role in enriching Turks and building powerful states. Today, China, the world’s second-largest economy, has regained its historical position. The revival of the historical Silk Road plays an important role in the revival of the Turkic world. There must be an air of unity in Eurasia in order for the OTS to succeed. In this respect, the accession of Iran, Russia, and China, which have Turkic-speaking peoples, to the OTS will add significant strength to the organization. There is already such an expectation in the OTS. Chairman of the Council of Elders of the OTS Binali Yıldırım stated that China and Russia are natural members of the OTS.[8]

The sanctions against Russia in the aftermath of Russia’s operation in Ukraine have highlighted the strategic importance of the Middle Corridor.[9] Moreover, although 96 percent of the trade from China to Europe is by sea, the US continues to blockade the South China Sea. Currently, the Middle Corridor is the safest port for trade flow. The most important goal of the OTS is to make the Middle Corridor more active. “We should also pay special attention to the development of transport networks between our countries. With this understanding, we continue our efforts to activate the Caspian Trans-Caspian East-West Middle Corridor. We should strengthen our cooperation in removing obstacles to transportation and trade, enriching transportation networks, facilitating border crossings, and visa procedures”.[10]

Conclusion

The world is on the brink of a global rupture, and OTS is an organization that emerged on the brink of this global rupture. Shortly after the Republic of Turkey celebrated its 100^th anniversary on October 29, the OTS organized a summit with the theme of ‘Turk Time’, which reflects the expectation of Turks to become a global actor for the 200^th year. To achieve this goal, the Organization of Turkic States must unite in Eurasia. In this respect, it is vital for the OTS to strengthen its cooperation with China, Iran, and Russia. These states are the leading powers of Asia and home to Turkic-speaking peoples. Economically, the Middle Corridor is vital for the OTS. Trade between China and Europe passes through Central Asia via railroads, which indicates the revival of the historic Silk Road. Controlling the Silk Road, the OTS can regain its historical role, gain a geopolitical advantage, and become an important figure in world politics. Turks have always had their own special goals, called the ‘Red Apple’. The Ottoman Sultan Mehmet the Conqueror set the conquest of Istanbul and the establishment of a new Roman Empire as the Red Apple. In the 16-18^th centuries, the Ottoman Sultans identified the conquest of Vienna and Rome as the Red Apple. In the 20^th century, Turkist ideologues had the Red Apple of establishing a Turan State. In the 21^st century, it is clear that the Turks’ Red Apple is the greatest ideal to be a center in the multipolar world order under the slogan of ‘Turk Time’.

The views contained in this article are the author’s alone and do not represent the views of Shanghai University.

[1] Francis Fukuyama, Francis Fukuyama on the end of American hegemony, 8 November 2021, https://www.economist.com/the-world-ahead/2021/11/08/francis-fukuyama-on-the-end-of-american-hegemony

[2] CFR, The Future of Dollar Hegemony, 22 August 2023, https://www.cfr.org/blog/future-dollar-hegemony

[3] Türkiye Yüzyılı’nda ‘Türk Devri’ başlıyor, 3 November 2023, https://www.trthaber.com/haber/gundem/turkiye-yuzyilinda-turk-devri-basliyor-809286.html

[4] Organization of Turkic States, “Declaration of the Tenth Summit of the Organization of the Turkic States”, 3 November 2023, https://www.turkicstates.org/assets/pdf/haberler/astana-declaration-3113-215.pdf

[5] AA, “Türk Haber Ajansları Birliğinin ilk genel kurulu yapıldı”, 6 November 2023, https://www.aa.com.tr/tr/kurumsal-haberler/turk-haber-ajanslari-birliginin-ilk-genel-kurulu-yapildi/3045736#

[6] Türkiye İletişim Başkanlığı, 21. Yüzyılın Parlayan Yıldızı: Türk Devletleri Teşkilatı, İstanbul, Cumhurbaşkanlığı İletişim Başkanlığı Yayınları: 2023

[7] Resmî Gazete, Türk Yatırım Fonu Kuruluş Anlaşmasının Onaylanmasının Uygun Bulunduğuna Dair Kanun, 11November 2023, https://www.resmigazete.gov.tr/eskiler/2023/11/20231111-1.htm

[8] Sputnik, Aksakallılar Konseyi Başkanı Yıldırım: Rusya ve Çin Türk Devletleri Teşkilatı’nın doğal üyesidir, https://tr.sputniknews.com/20211126/aksakallilar-konseyi-baskani-yildirim-rusya-ve-cin-turk-devletleri-teskilatinin-dogal-uyesidir-1051186836.html

[9] Zeynep Çetinkaya, & Zeynep Canlı, “Rusya-Ukrayna Savaşı Türkiye’den geçen ‘Orta Koridorun önemini daha da artırdı.” AA, 2022, 1 Mart 2022, https://www.aa.com.tr/tr/ekonomi/rusya-ukrayna-savasi-turkiyeden-gecen- orta-koridorun-onemini-daha-da-artirdi/2519232.

[10] Türkiye Cumhuriyeti Cumhurbaşkanlığı, “Türk dünyasının barışı, refahı ve güvenliği yönünde adımlar atmayı sürdüreceğiz”, 3 November 2023, https://www.tccb.gov.tr/haberler/410/150055/-turk-dunyasinin-barisi-refahi-ve-guvenligi-yonunde-adimlar-atmayi-surdurecegiz-

As he watched the Boston Celtics play from the stands of TD Garden, one noise kept catching Adel Djellouli’s ear.

“This squeaking sound when players are sliding on the floor is omnipresent,” he said. “It’s always there, right?”

Squeaky shoes are part of the symphony of a basketball game, when rubber soles rasp against the hardwood floors as players jab step, cut and pivot and defenders move their feet to stay in front of their assignment.

Returning home from the game, Djellouli wondered how that sound was produced. And as a materials scientist at Harvard University, he had a way to find out.

Djellouli and colleagues slid a sneaker against a smooth glass plate over and over. They recorded the squeaks with a microphone and filmed the whole thing with a high-speed camera to see what was happening under the shoe.

In a study published Wednesday in the journal Nature, they described what they found. As the shoe works hard to keep its grip, tiny sections of the sole change shape as they momentarily lose then regain contact with the floor thousands of times per second — at a frequency that matches the pitch of the loud squeak we hear.

“That squeaking is basically your shoe rippling, or creating wrinkles that travel super fast. They repeat at a high frequency, and this is why you get that squeaky noise,” Djellouli said.

The grip patterns on the soles may also play a role. When researchers slid blocks of flat, featureless rubber against the glass, they saw a series of chaotic, disorganized ripples but didn’t hear squeaks.

The ridge-like designs on the bottom of your shoes may organize the bursts to produce a clear, high-pitched sound.

Other researchers have studied these kinds of bursts before, but this sneaker study examines friction happening at much faster speeds. And for the first time, it links the speedy pulses with the squeaking sound they produce.

These insights don’t just serve to satisfy the curiosity of a basketball fan. They could also help answer important practical questions. “Friction is one of the oldest and most intricate problems in physics,” wrote physicist Bart Weber in an editorial accompanying the new research. Yet, despite its practical importance, he wrote, “it is difficult to predict and control.”

Understanding friction better could help scientists better understand how the Earth’s tectonic plates slide and grind during earthquakes, for example, or to save energy by reducing friction and wear.

It could also help eliminate moments off the court when squeaky shoes can be a little awkward or embarrassing, such as in a quiet office hallway.

This research doesn’t offer a fix, though the internet has plenty of advice that may be risky, including rubbing soap or a dryer sheet on the soles. But some of the insights from the study could help to design squeak-free shoes in the future.

For example, one additional experiment found that changing the thickness of the rubber could make the squeak sound lower or higher in pitch. In the future, could we fine-tune our shoes to squeak in a pitch so high we can’t even hear it?

“We can now start designing for it,” said Weber, who is with the Advanced Research Center for Nanolithography and the University of Amsterdam, in an interview. “We can start making interfaces that either do it if we want to hear this sound, or don’t do it if we don’t want to hear it.”

Ramakrishnan writes for the Associated Press.

DOLLY Parton has left fans sobbing with an emotional announcement.

After taking time off due to a health crisis, Dolly, 80, is back and she has returned with a touching announcement.

Looking incredible while sitting in a colorful room, Dolly delivered the news that East Tennessee Children’s Hospital is officially becoming Dolly Parton Children’s Hospital.

In the video, she explained how she believes every child should grow up healthy and with a fair chance.

She then revealed the hospital’s name change before saying, “I can’t do it all myself,” and asking for people to get involved via her website.

Meanwhile, the caption of the video read: “A new chapter begins.

GOLLY DOLLY!

Dolly Parton’s $180m Tennessee real estate portfolio revealed

“East Tennessee Children’s Hospital is proud to share we are becoming Dolly Parton Children’s Hospital.

“Inspired by Dolly’s commitment to children, this transformation represents more than a name change, it’s a promise. A promise to bring hope, healing and world-class care to patients and families across our region.

“Together, we’re building a future where every child has the chance to grow, thrive and feel the comfort of compassionate care.

“The same dedicated team. The same trusted care. Now carrying a name that reflects the heart of our mission. Learn more at DollyChildrens.org.”

Reacting to the announcement, one person penned, “Anyone else sob upon this news? Well deserved honor.”

“Our very own earth angel,” said a second.

“Bless you Dolly! A true angel on earth,” penned a third.

A fourth then demanded, “Dolly for president!”

“Ooooh Dolly, you truly are an angel! I have chills just reading this! Those kids will be wrapped in love,” said a fifth.

While a sixth penned, “The world needs more Dollys! She shouldn’t have to be one in a million.”

And an eighth added, “Dolly your are a great human being and do so much for the community and for the world.”

This comes after Dolly sparked health concerns last fall when she canceled several performances.

At the beginning of fall in 2025, the Tennessee native announced she was forced to postpone her Las Vegas residency after dealing with a number of “health challenges.”

Dolly’s shows were scheduled for six dates in early December at The Colosseum at Caesars Palace.

Tim McGraw subsequently took her place and the rescheduled shows have been set for September 2026.

In her message to fans, Dolly explained that she couldn’t perform due to doctor’s orders and had to undergo “a few procedures.”

She assured fans that she would be back on stage soon, writing, “And don’t worry about me quittin’ the business because God hasn’t said anything about stopping yet.

“He is telling me to slow down right now so I can be ready for more big adventures with all of you.

“I love you and thank you for understanding.”

Petworth in Sussex features cobbled streets, 40+ antique dealers, and a 700-acre park with a 17th-century stately home housing an internationally significant art collection

At this time of year, there’s nothing quite like strolling through a picturesque UK town before settling into a welcoming pub. There’s one particular spot that’s absolutely worth the journey.

The unspoilt English town of Petworth in Sussex feels like a step back in time, boasting charming cobbled lanes brimming with antique emporiums. Independent shops nestle amongst the streets, alongside cafes, delis and inviting pubs that create the perfect setting for an idyllic day out.

Petworth Antiques Market alone houses over 40 dealers, where you can uncover everything from exquisite furniture pieces to ornaments and an array of home accessories.

When hunger strikes, drop into The Hungry Guest delicatessen on Middle Street before heading out to explore the expansive 700-acre Petworth Park, which sits beneath the magnificent 17th-century Petworth House.

Inside, guests can wander through the 17th-century stately home and discover a treasure trove featuring an internationally significant collection of art and sculpture. You might even recognise it from films such as Napoleon, Rebecca, and Maleficent, as well as its appearance on Netflix’s Bridgerton.

One Tripadvisor reviewer remarked: “Pretty Petsworth. Petsworth House is a beautiful period home with an amazing Mural up the staircase. The artist who painted the mural can be found hiding behind one of the pillars in the painted mural. A favourite of Turner – the famous artist who used to stay here and paint. The grounds and lake are really pretty.

“The Town nearby has some beautiful medieval houses, which are antique shops, as well as a great antique market. A great place to walk around and have afternoon tea. One of my favourite historical towns.”

Another visitor said: “Our first visit to Petworth and we thoroughly enjoyed it. Although the house isn’t particularly impressive from the outside, the artwork within certainly is worth viewing. We did a guided tour with an extremely knowledgeable gentleman, which was greatly enjoyable and informative.”

They added: “I’m not even a great art fan, but he brought everything to life. Afterwards, we enjoyed a coffee in the cafe and a lovely walk around the estate in the sunshine. I would say it is more suited to adults than children, but we really enjoyed our visit.”

Petworth lies just over half an hour’s drive from Chichester and roughly 50 minutes from Portsmouth. If you appreciate nature and wildlife, keep your eyes peeled for the hundreds of deer roaming freely throughout the grounds.

The grounds represent one of the finest surviving examples of English landscape design by celebrated architect Lancelot ‘Capability’ Brown. From this location, visitors can take in breathtaking views across the South Downs, with the estate providing an ideal viewpoint.

It’s also an ideal destination to leave behind the chaos of everyday life for an invigorating stroll. Worth noting too that Petworth received such acclaim, it was recognised as one of Britain’s most scenic towns by Condé Nast Traveller earlier this year.

So if you’re considering a day trip within the UK, Petworth makes for a charming and peaceful excursion this winter.

President Trump, speaking for well over an hour, shattered the record on Tuesday for the length of a State of the Union address.

Speaking for about 100 minutes, the nation’s leader touched upon a broad range of domestic and international topics, bragged about his accomplishments and awarded the nation’s highest honors to a pilot who participated in the capture of Venezuelan President Nicolás Maduro, a 100-year-old Korean War veteran, and a 32-year-old goalie for the gold-medal-winning Olympic men’s hockey team.

The previous record-holder was President Clinton, famously known for his Southern-twang verbosity. He spoke for nearly 90 minutes during his final State of the Union address in 2000.

The address is prescribed by the Constitution and calls for the president to apprise Congress about the state of the union. Over time the address has become a vehicle for presidents to address the nation’s residents, claim legislative victories and foreshadow upcoming policy goals.

Just over a century ago, President Harding’s and President Coolidge’s addresses were aired on the radio. In 1947, President Truman’s address was the first to be broadcast on television. As viewership grew, the annual speech has taken on greater gravity, leading to notable and controversial moments in American politics.

Rep. Joe Wilson (R-S.C.) famously shouted “You lie!” during President Obama’s 2009 address to Congress when he spoke about healthcare policy. Then-House Speaker Nancy Pelosi (D-San Francisco) created a viral moment when she tore apart a copy of Trump’s text after he delivered the State of the Union in 2020.

On Tuesday night, Rep. Al Green, a Democrat from Louisiana, was escorted out of the chamber after he held a small sign that read: “BLACK PEOPLE AREN’T APES.”

A pretty town deserves a spot on your itinerary with its cobbled streets, Georgian architecture, antique shops and cosy pubs, and a park home to hundreds of free-roaming deer

A quintessential English town, with narrow cobbled lanes and surrounded by diverse landscapes, offers a glimpse into bygone eras.

The historic town of Petworth in Sussex is characterised by meandering cobbled lanes, 17th-century Georgian buildings and quaint, stone cottages. It’s conveniently positioned just over half an hour’s drive from Chichester and around 50 minutes from Portsmouth, offering a delightful day out among its unspoilt landscapes.

There are narrow streets that lead to hidden gems scattered around the town, with antique emporiums and independent boutiques, complemented by cafés, delicatessens, and inviting pubs. Thanks to its scenic setting, it was even crowned by Condé Nast Traveller as one of the UK’s most picturesque towns.

READ MORE: Small village named ‘loveliest town in England’ with best-rated food and drinkREAD MORE: Rural town dubbed ‘the new Notting Hill’ is brimming with independent shops and Michelin-star restaurants

The medieval town, with more than 400 listed buildings, is also renowned for its thriving art and antiques community, with a wide range of galleries and more than 30 antique stores where you can find ancient treasures. One of the most popular spots for vintage goodies is Petworth Antiques Market, featuring more than 40 dealers offering everything from exquisite furniture to ornaments and an extensive selection of homeware.

One guest enthused on TripAdvisor: “I absolutely love going to the Petworth Antique Market, the customer service is amazing with extremely friendly, helpful staff, and I always always find beautiful treasures there!!”

You certainly won’t go hungry during a trip to Petworth with The Hungry Guest on Middle Street, among its standout establishments, serving up seasonal, locally sourced cuisine that has elevated the town’s reputation. Additionally, there’s an array of inviting pubs, including The Welldiggers Arms, The Black Horse Inn and The Angel Inn.

But away from the town centre, Petworth is a haven for avid walkers, with diverse landscapes within easy reach of the pretty town, including the rugged chalk hills of the South Downs National Park and the ancient woodland of The Mens Nature Reserve. Yet, the Petworth House and Park is the town’s most notable attraction, with its sprawling 700-acre park surrounding the impressive 17th-century Petworth House.

Visitors can explore the historic stately residence and discover an exceptional collection of world-class art and sculptures. The property represents one of the finest remaining examples of an English landscape designed by the renowned Lancelot ‘Capability’ Brown.

There are also hundreds of deer wandering freely across Petworth Park that can be easily admired, or you can soak up the spectacular views of the South Downs during a stroll around the grounds. The National Trust park has certainly put Petworth on the map, and even more so after appearing in major film productions, Napoleon, Rebecca, and Maleficent, as well as Netflix’s popular drama Bridgerton.

Following a visit, one traveller shared: “Another National Trust gem! Had a wonderful day there. So much to see and wonderful walks in the grounds and deer park. The art collection is outstanding, and as usual, the volunteers in the house were great. Had an interesting talk in the square dining room about the family’s history. Found the kitchens fascinating! Great cafe too. Highly recommend.”

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

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Beethoven’s “Missa Solemnis” is a grand mass for large orchestra, chorus and four vocal soloists that lasts around 80 minutes. It was written near the end of Beethoven’s life and is his most ambitious work musically and spiritually. “Coming from the heart, may it go to the heart,” he wrote on the first page of the score.

The Beethoven biographer Jan Swafford put it this way: “ ‘Missa Solemnis’ is Beethoven talking to God, man to man. And what they talked about is peace. Creation was for Beethoven’s the magnificence in the world which we inhabit; ‘Missa Solemnis’ is meant to keep it thus.”

Yet among Beethoven’s major works, “Missa Solemnis” is, by far, the least performed, and not merely because of the need for large forces. Conductors struggle to get a handle on its mysteries and intricacies. Upon turning 70 last year, Simon Rattle contended “Missa Solemnis” remains beyond him. Upon his reaching 70, Michael Tilson Thomas made a momentous meal of “Missa Solemnis” 11 years ago with a staged performance with the Los Angeles Philharmonic at Walt Disney Concert Hall.

Gustavo Dudamel, who has been conducting Beethoven since he was a teen, waited until he passed his 45th birthday last month. His first “Missa Solemnis” performances over the weekend at Disney were the centerpiece of his month-long L.A. Phil focus on Beethoven.

That venture began a week earlier with a political statement. Beethoven’s incidental music to Goethe’s drama of liberation, “Egmont,” was updated with a new text that served as an urgent call for protest in our own era of authoritarianism and militarism. Here, Beethoven exerts a compulsion for triumphant glory.

The glory in “Missa Solemnis” is that of stupefaction. By this point in his life, Beethoven has had it with weapons, the drumbeat of soldiers, the addictive emotion of trumpet calls to action. His man-to-man with God is celestial diplomacy. There is no compromise. We either care, at all costs, for our magnificent world or nothing matters.

Dudamel clearly cares. He conducted the massive mass from memory. And costs be damned. He imported from Spain two spectacular choruses — Orfeó Català and Cor de Cambra del Palau de la Música Catalana — a total of some 130 singers who sounded like they had rehearsed for months under their impressive director, Xavier Puig. The four soloists — soprano Pretty Yende, mezzo-soprano Sarah Saturnino, tenor SeokJong Baek and bass Nicholas Brownlee — were needfully robust and powerful. They were placed mid-orchestra, behind the violas and bravely in front of the timpani.

“Missa Solemnis” follows the standard mass text but doesn’t necessarily follow the liturgical narrative. It is a work of theater, dramatizing feelings, as the earlier Disney staging attempted. Director Peter Sellars and conductor Teodor Currentzis have also been promising a major staged “Missa Solemnis” for many years.

The Kyrie opens with a strong D-major chord in the large orchestra that seems an obvious downbeat but turns out to be an upbeat. Down is up. Eighty or more minutes later at the end of the Agnus Dei, when the great plea for peace reaches its ultimate transcendence, up becomes, in one of the most profoundly unsettling moments in all music, down again. We never fully know where we stand in “Missa Solemnis.” Every expectation is thwarted. Beethovenian peace is a nearly superhuman endeavor.

Gustavo Dudamel conducts L.A. Phil, vocal soloists and Catalan choruses in Beethoven’s ‘Missa Solemnis’ at Walt Disney Concert Hall.

(David Butow / For The Times)

Dudamel‘s approach is to attempt the all-encompassing. He conducted without a baton but with his body. His arms were often open and wide as if embracing the musician masses on the stage, holding the whole world in his hands. Tidiness wasn’t necessarily the issue. Grandeur was. Molding sound was. And, of course, awe.

Throughout his career, Beethoven was the overwhelming master of awe. In “Missa Solemnis,” he out-glories the Gloria. His fugues are a draftsman’s rendering of heavenly splendor. Such awe asks for the superhuman from singers, especially in this ensemble from their ravishing high notes.

But Beethoven also questions every sentiment in the Mass. Grandeur can so suddenly turn solemn that it feels almost a ceremonial sleight of hand. In the Sanctus, a solo violin sails in from nowhere (“descending like a dove from heaven,” Hugh MacDonald nicely puts it in the program note), and suddenly we’re in a violin concerto with vocal soloists of transcendent allure.

The Agnus Dei begins in glum realization that there may be no compensation for humanity’s great sins when, again astonishingly without expectation, one of Beethoven’s uniquely wondrous melodies takes over. Saber-rattling trumpet and timpani intrude and are shushed away as worthless. Peace returns but just as it is about to climax it weakens. There is no grand Beethoven ending. “Missa Solemnis” just stops.

Dudamel’s approach was not, as his Beethoven has generally become, filled with fervent intensity in the moment. That may happen as he gains more experience with Beethoven’s most exigent score. The big moments were still huge, especially with the help of his fabulous chorus. The somber moments were well of the heart. There was eloquent solo playing in the orchestra, and extravagance from the solo singers.

Most unusual was the violin solo. The L.A. Phil is in a concertmaster search, and Alan Snow, the associate concertmaster of the Minnesota Symphony, sat in. He brought silken “descending dove” tone to his solo playing, but at low tone becoming more a voice from afar than soloist. Whether that is simply his sound or what Dudamel was after is, like so much in the “Missa Solemnis,” up to question. Still, its quiet exemplified the elusive essence of peace.

When Dudamel first walked on stage, he got, as he always does and especially in his last season as music director, a strong ovation. At the end of “Missa Solemnis,” the reaction was a respectful standing ovation, unlike the de rigueur rapturous reception he always earns with Beethoven.

Dudamel earned something far more rewarding. It wasn’t a moment for cheering but reflection. True peace in “Missa Solemnis” comes not from winning but from ending conflict, be it between nations, nature or among ourselves. We have as yet too little to celebrate.

Katherine Short, the daughter of actor and comedian Martin Short, has died. She was 42.

Her death was confirmed by her family.

“It is with profound grief that we confirm the passing of Katherine Hartley Short,” the family said in a statement. “The Short family is devastated by this loss and asks for privacy at this time. Katherine was beloved by all and will be remembered for the light and joy she brought into the world.”

A law enforcement source told The Times that Short, an L.A. social worker, died by an apparent suicide.

This post will be updated as the story develops.

The director of one of the best films of 2025 that’s up for several Oscars is working on a highly anticipated revival of an iconic series

Ryan Coogler’s The X-Files reboot has just been given a thrilling update.

The revamped sci-fi mystery drama was first announced back in 2023, with the acclaimed director releasing his hit period horror blockbuster Sinners in the meantime.

Nearly three years later, the project has finally been given a pilot greenlight by streaming service Hulu, with Jennifer Yale (The Copenhagen Test) coming on board as showrunner.

Black Panther filmmaker Coogler will write and direct the first episode, which will star Danielle Deadwyler (The Piano Lesson) as an FBI agent investigating the paranormal.

A synopsis via Deadline confirms the series will follow “two highly decorated but vastly different FBI agents — one played by Deadwyler — [who] form an unlikely bond when they are assigned to a long-shuttered division devoted to cases involving unexplained phenomena.”

Deadwyler has a big year ahead as she’ll next be seen in the HBO comedy series Rooster with Steve Carell as well as the third season of Euphoria. Her X-Files co-star has yet to be confirmed.

The original series starred David Duchovny and Gillian Anderson as agents Fox Mulder and Dana Scully, a believer and a skeptic who investigate unsolved cases known as X-Files.

Originally airing from 1993-2002 over nine seasons, the series is widely considered one of the greatest shows of all time, with Radio Times calling the first episode ‘the greatest pilot in TV history’. It returned for two new seasons in 2016 and 2018.

One Redditor claimed it’s “never to be dethroned”, and someone else agreed: “This show is my #1 of all time. It has its flaws but this is the show I go to every night.

“If TV died as a whole entirely and I was stranded on a desert island, this would be my one and only choice.”

And an X user called it “literally the best show ever made, so beautifully shot and a killer soundtrack!”

The reboot certainly has a daunting legacy to live up to, though thankfully director Coogler has more than enough credentials to meet fans’ high expectations.

His latest film, Sinners, starring Michael B Jordan as twin gangsters who encounter a chilling cult of vampires in 1930s Mississippi, was named the best film of 2025 by the African American Film Critics Association.

The critics consensus on Rotten Tomatoes reads: “A rip-roaring fusion of masterful visual storytelling and toe-tapping music, writer-director Ryan Coogler’s first original blockbuster reveals the full scope of his singular imagination.”

Teasing his next project on the Last Podcast on the Left, Coogler said: “I’ve been excited about that for a long time, and I’m fired up to get back to it. Some of those episodes, if we do our jobs right, will be really f***ing scary.

“We’re gonna try to make something really great and really be something for the real X-Files fans, and maybe find some new ones.”

He also revealed that he had spoken to Anderson about the revamped series, though her and Duchovny’s involvement is currently unconfirmed.

“She’s incredible. Fingers crossed there,” Coogler added cryptically.

The X-Files does not yet have a release date.

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Welcome back to the Lakers newsletter, where we dive into how to get the best out of big man Deandre Ayton and hear iconic Lakers coach Pat Riley praise current Lakers coach JJ Redick and his team.

The conundrum that is Deandre Ayton is now living with the Lakers.

They see the talent and skills. But they still are searching for the right ways to maximize what Ayton can offer.

They see the passion and love for the game. They want to get that out of Ayton on a consistent basis.

They see his sensitivity. They know that to bring out the best in Ayton takes patience and constant encouragement.

When the Lakers watched film of their loss to the Boston Celtics on Sunday, Redick used lines like “there’s positive trends” with Ayton and lines like “he could be better” in certain instances.

That is the paradox of Ayton.

As the Lakers enter the stretch run of the season with 26 games remaining, they need Ayton to play at a higher level more frequently if they are to be successful.

Against the Celtics, Ayton had just four points on two-for-six shooting. He had seven rebounds, one assist and one blocked shot.

“There’s positive trends,” Redick said after practice Monday. “We did watch some film today. There was some real positive trends defensively. I think his spirit and engagement and stuff has been really good. I think for all the guys, if he has a smaller player on him, that’s an advantage for us. Let’s just get him the ball. I think it’s just thematically across the team, we have to pass it to each other more and trust each other more. …

“There was a clip last night or a play last night, Jaylen Brown goes to the floor. We’ve got a five-on-four and he [Ayton] goes at about 20% speed where it’s clearly a man-down situation. So in terms of him running and putting pressure on the rim and offensive rebounding, particularly against switches and smaller players, he could be better there.”

However, Redick, his staff and Ayton’s teammates want to be clear that they support him at all times.

Earlier this season, Redick gave his 7-foot center a T-shirt featuring Ayton’s face combined with the likeness of a lion.

“We want him to be the lion,” Redick said then.

“I have his back,” Redick said Monday. “These guys, we try to make them understand my job is to help the Lakers try to win basketball games. And so nothing is ever personal. If he doesn’t close a game, it’s not personal. It’s because I think there’s a better option. And that’s not just true for him personally. There’s essentially three guys on our team that if they’re on the lineup, they’re going to close games and everybody else [will rotate]. We talked about that today.”

Ayton is producing the lowest averages of his NBA career in points (13.0), rebounds (8.4) and minutes (28.1). His field-goal attempts (8.9) and makes (5.9) are lows too, but he’s shooting a career-high 66.6%.

“He’s done OK,” said Marcus Smart, who sits next to Ayton in the ’ locker room. “You know, he definitely could be better; we all could. But the thing I love about it is he understands it and he’s working. We all are trying to figure it out; this is new to everybody. He’s doing his best, but he understands it’s another notch that we need him to go to, and we’re going to try to get him there and help with that. But he knows he’s got to do his part as well.”

Ayton plays on a team with three dominant ballhandlers in Luka Doncic, LeBron James and Austin Reaves, and it is their job to feed the 7-footer. Getting Ayton activated has been a positive for the Lakers. When he doesn’t get the touches, Ayton hasn’t been as productive.

Still, NBA scouts say Ayton can do a little more himself. He can run harder on the fast break, seal his man down low and play with force, roll to the basket with a purpose, use his athleticism to his advantage and play defense and rebound at a higher level.

Ayton came into the NBA with high expectations, the first overall pick in the 2018 draft, even going ahead of Doncic. Over five seasons with the Phoenix Suns, Ayton was a double-double machine, averaging 16.7 points and 10.4 rebounds. He shot the ball more, averaging 12.5 field goal attempts per game. He averaged 12.8 in two seasons in Portland.

With the Lakers, he’s had to adjust his game.

“I’m sure it’s a big adjustment,” Smart said. “It was an adjustment for me when I came in … The type of player I was in college and coming in and the way I played both offensively and defensively, [now I’m] taking a more defensive approach more than offensive. So it definitely can be frustrating and it’s definitely a challenge because you still value and look at the opportunity that you have to be that person. But unfortunately, sometimes the circumstances don’t call for it. That’s the hard part, understanding that early. Like I said, we all could do better at that because we all want to win. Deandre is doing the best he can, and we appreciate that. We love it too because he also uses that to motivate himself, which can be a good thing.”

Riley praises Redick, Lakers

A statue of former Lakers coach Pat Riley is unveiled outside Crypto.com Arena.

(Greg Beacham / Associated Press)

After Pat Riley had his statue unveiled Sunday on Star Plaza outside of Crypto.com Arena, he took time to praise Redick.

Riley led the Lakers to four NBA championships in the ‘80s, his coaching style a big part of the Showtime era. He likes what he sees out of Redick and the Lakers.

“I love JJ. I really do,” Riley said. “I competed against him. My teams competed against him, you know, in various teams that he played with. He’s a fiery guy. He could shoot the hell out of the ball. He was tough as nails, you know. I don’t know. Sometimes I look back and I remember myself at that time and I looked at JJ and I think they picked the right person [for the Lakers job]. There’s just a quality about him, I think, that goes above and beyond.

“And they have a hell of a team for him right here, right now with Doncic and Reaves and obviously with LeBron. And so I think Rob [Pelinka, president of basketball operations] will continue with the new ownership to build that team and to complement those players. But they have a great opportunity and I think JJ will be a great coach for it.”

On tap

Tuesday vs. Orlando (30-26), 7:30 p.m.

The Magic are a deep and versatile team, with six players who score in double figures. Paolo Banchero leads them in scoring (21.5) and rebounds (8.4) and is second in assists (5.0). He’s shooting 45% from the field. Desmond Bane is one of three Orlando players averaging more than 20 points at 20.1, making 48.3% of his shots and 38.8% of his threes. He just dropped 36 in a win over the Clippers on the second night of a back-to-back.

Thursday at Phoenix (33-25), 7 p.m. PST

Injuries are starting to take a toll on the Suns. Dillon Brooks has a broken left hand and reportedly is out four to six weeks. This comes on the heels of All-Star Devin Booker missing at least one week because of a right hip strain and fellow guards Grayson Allen (ankle/knee) and Jordan Goodwin (calf) also dealing with injuries.

Saturday at Golden State (30-27), 5:30 p.m.

The Warriors don’t have All-Star guard Stephen Curry (knee) and forward Jimmy Butler (torn ACL), leaving them without a lot of offensive firepower. The Warriors have been leaning on guard Brandin Podziemski to keep them afloat. He is averaging 12.1 points per game.

Sunday vs. Sacramento (12-46), 6:30 p.m.

The Kings have the worst record in the NBA. They have three players with season-ending surgeries — De’Andre Hunter (eye), Domantas Sabonis (knee) and Zach LaVine (hand).

Status report

Jaxson Hayes: right ankle injury

Redick said Hayes, who left Sunday’s game, got an MRI on Monday that showed his ankle had “a little bruise.” Hayes, the backup center, is day to day, Redick said. The Lakers listed Hayes as doubtful for Tuesday night’s game against the Magic at Crypto.com Arena.

“We’ll see how he feels tomorrow morning,” Redick said..

Favorite thing I ate this week

Risotto col codeghin e la peara from Tre Risotti Trattoria.

(Thuc Nhi Nguyen / Los Angeles Times)

Ciao! It’s Thuc Nhi checking in a final time from the Olympics. My final dinner of the Games had to honor northern Italy, so instead of just pizza or pasta, I went searching specifically for risotto. In Verona, before the closing ceremony, I asked the server at Tre Risotti Trattoria what the most popular risotto was and she suggested the risotto col codeghin e la peara (risotto with sausage and pepper sauce). She didn’t miss. The salty, creamy bite with the crunchy crouton around the plate was the ideal way to end my third Olympics Games. Arrivederci!

In case you missed it

With Pat Riley watching, Lakers routed by Celtics in rivalry game

Plaschke: During statue unveiling, Pat Riley reminds the disjointed Lakers of keys to winning

Statue outside Lakers’ arena is another first for Pat Riley, the consummate coach

Luka Doncic and Lakers hold off Clippers after Kawhi Leonard exits late

Lon Rosen to take over business operations for the Lakers

Until next time…

As always, pass along your thoughts to me at thucnhi.nguyen@latimes.com, and please consider subscribing if you like our work!

Disney California Adventure this month turns 25. Though Disneyland Park’s littler and much younger sibling, the park has grown into a respectable offering, one that ranks among my favorite Disney parks in North America. No small feat, considering its checkered, less-than-ambitious launch.

California Adventure is today emblematic of some of the best that Disney has to offer. And yet it remains a work in progress. The subject of constant tinkering, another reimagining is on the horizon.

With more Marvel, more “Avatar” and more Pixar due to be injected into the park, California Adventure stands at a crossroads. But also one with risks: Will it soon feel like a collection of brand deposits? This, of course, has appeared to be the vision of the company’s theme parks in the recent past. This doesn’t always have to be a negative. Consider it more a word of caution.

A “Coco” boat ride is destined for Disney California Adventure. The ride is under construction.

(Pixar / Disneyland Resort)

Few Disney properties, for instance, seem more ripe for exploration in a California-focused theme park than “Coco.” Under construction where Paradise Gardens and Pixar Pier meet, a “Coco”-inspired boat ride will give the park at long last a permanent home to recognize our state’s Latin culture and heritage. While fans may long for the days of original attractions such as Pirates of the Caribbean and the Haunted Mansion, those based on intellectual property — IP in industry speak — aren’t evil, especially when used to heighten the overall themes of the park. California Adventure’s own Cars Land is a key example.

When it starts to feel like retail, however, parks can become exhausting. Looking at you, Avengers Campus, a half-finished land with a bombastic orchestral score and familiar, urban design that wouldn’t be out of place in downtown L.A. In its current state, the land works best as a backdrop for live entertainment as it lacks the welcoming feel of Disney’s top creations.

California Adventure, at its most idealized, stood for more than an assortment of film properties. Its pitch was to show the Golden State as a romanticized destination, one that in the post-Gold Rush era has often given America permission to dream. It would capture our people, our nature, our food and our glamour through a lighthearted, optimistic lens. When completed, the park had a mini Golden Gate Bridge and giant letters that spelled out the name of our state (which were removed about a decade later).

By the time California Adventure opened in February 2001, it had already been the subject of much revision. The Walt Disney Co. wanted it to be a West Coast answer to Walt Disney World’s Epcot. Its plans at the time were well-documented, with the Walt Disney Co. initially giving Westcot, as it was to be called, a spherical answer to the Florida park’s Spaceship Earth. In time, and in attempts to quell neighborhood concerns, the globe’s design would shift to become a large, futuristic needle.

California Adventure in 2001 was meant to depict a romanticized vision of California.

(Mark Boster / Los Angeles Times)

None of it was to be. Financial headaches, caused in part by the early-year struggles of Disneyland Paris, inspired Disney to change course. Disney California Adventure would open with few attractions that rose to the Disneyland level, and yet The Times was kind in its opening coverage, praising the park’s change of pace from its neighbor and admiring how its architecture blurred fiction and reality.

The hang-gliding simulation Soarin’ Over California was an instant hit, and Eureka! A California Parade was Disney theatricality at its weirdest, with floats that depicted Old Town San Diego, Watts and more. But California Adventure’s prevalence of dressed-up county fair-like rides failed to command crowds. Disney’s own documentary “The Imagineering Story” took a tough-love approach, comparing some of its initial designs to those of a local mall.

The grand opening of California Adventure in February 2001.

(Mark Boster / Los Angeles Times)

And yet today it’s home to one of the Walt Disney Co.’s most fully-realized areas in Cars Land, which opened in 2012. Flanked by sun-scarred, reddish rocks that look lifted from Arizona, Cars Land is a marvel, and on par with the best of Walt Disney Imagineering’s designs (see New Orleans Square, Star Wars: Galaxy’s Edge and Pandora — the World of Avatar). Nodding to our Route 66 history, the land is a neon-lit, ‘50s rock leaning hub of activity, complete with the showstopping Radiator Springs Racers.

Cars Land led a major makeover of the park that also included the nostalgic Buena Vista Street, a nod to the Los Feliz era of the 1920s. And by the mid-2010s, many of California Adventure’s most insufferable traits, such as its ghastly puns (San Andreas Shakes was bad, but the Philip A. Couch Casting Agency was cringe-inducing) as well as the short-lived disaster of a ride that was Superstar Limo, had begun to disappear.

Cars Land, added to California Adventure in 2012, is one of Walt Disney Imagineering’s grandest achievements.

(Mark Boster / Los Angeles Times)

With the nighttime show World of Color, and a bevy of in-park entertainment, California Adventure pre-pandemic began to feel like something akin to a full-day park. It wasn’t perfect, of course — no park is.

The Little Mermaid — Ariel’s Undersea Adventure, though lightly charming, suffers from being a hodgepodge of familiar scenes from the film rather than a narrative tableau that can stand on its own. Too many empty buildings clutter its Hollywood Land area, the makeover of Paradise Pier into Pixar Pier did little but add garish film-referencing art to the land and the crowd-pleasing transformation of the Twilight Zone Tower of Terror into Guardians of the Galaxy — Mission: Breakout! was completed at the expense of the park’s prime Southern California theming.

Paradise Pier at California Adventure in 2002. The land has since been remade into Pixar Pier.

(Don Kelsen / Los Angeles Times)

But there is much about California Adventure to adore. It shines during holidays, whether that’s Lunar New Year at the top of the year or the back-to-back combo of Halloween and Christmas seasons near its end. Here is when California Adventure’s entertainment comes to the fore, bringing the park alive with cultural tales that at last reflect the diversity of the modern theme park audience.

How grand it would be, however, if California Adventure were blessed with this level of entertainment year-round. The Hyperion Theater, a 2,000-seat venue at the end of Hollywood Land, and once home to shows inspired by “Frozen,” “Aladdin” and “Captain America,” today sits empty. If the Walt Disney Co. can’t justify funding the theater, jettison it with the park’s upcoming makeover, as it stands as a reminder of how fickle the corporation can be when it comes to live performance (also gone, the great newsboy-inspired street show).

Staff at California Adventure put the final bit of polish on the letters that spell out “California” ahead of the park’s 2001 opening. The letters once stood at the entrance of the park.

(Mark Boster / Los Angeles Times)

Looking ahead, I expect Disney to deliver a powerful “Avatar” ride, and early concept art has shown a thrilling boat attraction that appears to use a similar ride system to Shanghai’s Pirates of the Caribbean: Battle for the Sunken Treasure, which is hailed by many as one of the company’s strongest modern additions. Worthy of debate, however, is how the pure fantasy landscape of “Avatar” fits in a park that still nominally tries to reflect California and our diversity.

And does it matter?

The company would likely argue that if the ride wows guests and extends the “Avatar” brand into another generation, that it does not. But Disneyland next door isn’t timeless because it has “Peter Pan” and “Star Wars.” It has endured for 70 years because its attractions, by and large, reflect cultural myths. And it’s a park we want to spend days in, thanks to its gorgeous landscaping, calming Rivers of America, and human tales of avarice, unity and romance spread throughout its attractions.

For theme parks, after all, can jump the shark, so to speak. Spend some time, for instance, sitting in California Adventure’s San Fransokyo Square. It’s a needless, post-pandemic makeover. What was once a simple food court has been transformed into a loud nook stuffed with a “Big Hero 6” meet-and-greet and gift shop. You’ll be transported, but to a place more akin to a marketing event.

So happy 25, California Adventure. We love you, and you’re a park worth celebrating, but like most post-collegiate kids, there’s still some room to learn.

Welcome back to the Times of Troy newsletter, where we’ve got a jam-packed edition for you this week. USC beat reporters were given the chance to talk to assistants we don’t often get access to during the season. So this week, we’re going to empty the notebook, with 15 notes, quotes and other things you should know ahead of USC’s spring football session.

1. Jayden Maiava has taken “a huge leadership jump” from last season. That’s according to offensive coordinator Luke Huard, who said the quarterback has been meeting with young wideouts, setting up group chats, watching film and working with them at walk-throughs. There will be a lot on his shoulders with such a young receiving corps.

2. Freshman quarterback Jonas Williams is “pretty developed” from a physical standpoint. The athleticism also is obvious when you watch him on tape. The question is how quickly can he get up to speed mentally? Huard said Williams ran a “very multiple” offense that asked a lot of its quarterbacks. So that’s a good sign. But with Husan Longstreet gone, USC is starting from square one again at backup quarterback. Sam Huard is still an option, but this wasn’t necessarily what USC planned.

3. Huard addressed Longstreet’s exit and how plans at quarterback change on a whim nowadays. Huard’s tone, which can’t really be detected in the quote, suggested he wasn’t exactly thrilled about the situation. (Huard, after all, spent a lot of time and energy getting Longstreet to USC.) This is part of what he said: “We are going to recruit guys that are going to represent USC at an elite level and give us an opportunity to win and compete for national championships. So for us, it’s identifying those guys that USC is important to ‘em. They want to truly be here. They want to stay and develop.”

4. Don’t be shocked if a freshman running back makes an impression, even with a clear top two in the backfield. Deshonne Redeaux and Shahn Alston earned raves from running backs coach Anthony Jones — and are very different. Alston is the bigger power back, while Jones called Redeaux “a jack of all trades.” Jones said Redeaux is already a solid blocker and even can line up in the slot as a receiver if need be.

5. What’s the next step look like for King Miller? “Hopefully, King 2.0,” Jones said, with a laugh. Miller’s main goal in the offseason has been “transforming his body,” Jones added. And if Miller can maintain his breakaway speed while adding strength, the sophomore running back could be bound for an even bigger year than he had in 2025.

6. Sophomore receiver Tanook Hines is working on his route running. Hines’ athleticism was clearly off the charts in his debut season. But there’s still plenty to polish in his game. Receivers coach Dennis Simmons said that’s the next step for him as he takes the reins as the Trojans’ No. 1 wideout. This offseason is a crucial one for Hines.

7. Zach Williams will move to slot receiver. Could that mean more opportunity? Williams didn’t make much of a splash last season, largely because of injury, but when he left Utah, then-coach Kyle Whittingham said he would’ve been the Utes’ top receiver the next season. Williams has talent. And with the move inside, he finally could get the opportunity too.

8. The rest of USC’s receiving corps is very young. I expect that means we’ll see a lot of sets with Hines, Williams and N.C. State transfer Terrell Anderson at first. But freshmen Boobie Feaster and Kayden Dixon-Wyatt no doubt will get their chances to change that. Redshirt freshman Corey Simms turned heads in camp last fall and could be primed for a step forward too.

9. The competition at tight end is wide open. Lake McRee is off to the NFL. Walker Lyons transferred. “Who’s going to fill all those snaps?” tight ends coach Chad Savage asked. “Those are a lot of snaps that have gotta be replaced.” Savage mentioned that Wisconsin transfer Hunter Ashcraft would be a part of that equation. Redshirt freshman Taniela Tupou had begun to impress by the end of last season as well.

10. That said, freshman Mark Bowman might make a serious push to start. When I asked Savage about where Bowman was most developed, he said Bowman was “pretty complete” already. Remember, he still should be in high school at this point. Of course, it’ll take time for him to adjust to the physicality and blocking of college football. But I suspect that won’t take long. “In terms of being a natural pass-catcher, route runner, being explosive,” Savage said, “he can do all that.”

11. Savage had a chance to leave for another opportunity. He chose to stay and was promoted accordingly. The Trojans’ new pass game coordinator called working at USC “a dream come true.” He added, “There’s so much growth for me to happen here at USC. … I’m a West Coast guy.” That’s good news, considering he might be one of the best recruiters in college football.

12. Offensive line coach Zach Hanson said USC’s front was “nowhere near where we need to be” last season. The unit actually overachieved, considering its circumstances, but he feels there’s “a lot of room for growth.” I agree. This group will look a lot different in the fall than it did last season, with some linemen starting at new positions. Hanson believes the added competition will lead to a big leap for the line. I tend to agree.

13. Tobias Raymond will take reps at center in the spring. It has been the plan for a while that eventually Raymond would try his hand at center, as coaches see that as his best chance to stick in the NFL. It’s not out of the question that he could play there full time, assuming another linemen steps in.

14. Five-star freshman Keenyi Pepe will start off working at right tackle. Can he win the job in Year 1? He’ll have Justin Taunauu, last year’s starter, as well as young returners like Elijah Vaikona and Aaron Dunn to compete with, but Pepe is further developed than the usual freshman. “A lot is just God-given talent,” Hanson said. “The Lord blessed him with unbelievable gifts.”

15. New coordinator Gary Patterson famously split his 4-2-5 defense into two calls. One for the front seven, one for the defensive backs. But that could play out differently at USC, he said. Patterson’s plan is to use pieces of USC’s old scheme under D’Anton Lynn and “add another scheme to it.” Sometimes that’ll mean just one call for the whole defense, other times he’ll plan to deploy a double call. With slower offenses in the Big Ten, that approach could work quite well.

USC’s Laura Williams looks to pass after getting a rebound.

(Gina Ferazzi/Los Angeles Times)

—The USC men are in serious danger of missing March. It’s not just that the Trojans lost to No. 10 Illinois. They were blown out by the Illini, who then lost to UCLA three nights later. It’s not just that USC lost to Oregon, either. It’s how they lost to Oregon, a team that had lost 11 of 12, by letting the Ducks go on a stunning 7-0 run in the final minute. This version of USC doesn’t deserve to be in the tournament. But I do believe this team has the talent to be a tournament team and it’s not out of the question that it could win two of the next four, win a couple of games in the Big Ten tournament and sneak in. That climb is just a really steep one after Saturday.

—Laura Williams’ emergence as a reliable rebounder and rim protector is a big deal. All season long, Lindsay Gottlieb has been content to rely on a rotating group at the five. USC has been able to get by for most of the season, but come March, it’ll help to have someone who can do what Williams did against Wisconsin, when the redshirt freshman reeled in 14 rebounds and blocked four shots.

—What a start to the season for USC baseball. After leading a combined no-hitter the previous week, Grant Govel threw six scoreless innings, gave up just one hit and struck out 11 in a win over Rice. That was after No. 1 pitcher Mason Edwards pitched a shutout the night before. The Trojans are surging to start Andy Stankiewicz’s third season as coach, and if the pitching continues to be this good, USC could be on the brink of a breakthrough campaign.

Olympic sports spotlight

USC beach volleyball opened its season on a hot streak in Honolulu with four straight wins, including a victory over No. 2 Stanford, only to trip up twice on the final day of the Outrigger Duke Kahanamoku Beach Classic. That one of those losses came to No. 1 UCLA, which USC won’t face again until April 4, made it an especially tough way to end the weekend.

But the season is young, and there’s no reason to doubt that Dain Blanton will have USC in the mix to win a national title when the rivals meet again.

What I’m Watching This Week

Jason Segel in “Shrinking.”

(Apple TV+)

It’s shocking that it took until this show’s third season for it to get a mention in this space, but “Shrinking” is back, and there is no show on TV that I find more life-affirming.

Jason Segel stars as Jimmy, a therapist working through grief after the sudden death of his wife. That might sound heavy — and, sure, it is sometimes — but it’s also hilarious, optimistic and heartwarming. Few shows these days can make you both laugh out loud and tear up in the same episode. This is one of them.

The second season was a revelation. And so far, I’m hopeful that Season 3 will be a worthy follow-up.

In case you missed it

Fourth-quarter drought dooms USC vs. No. 10 Ohio State despite Jazzy Davidson’s 32 points

USC men’s basketball team fumbles late lead, suffers devastating loss to Oregon

Star freshman Jazzy Davidson gives USC a scare as it wins sixth straight

USC men come unraveled in blowout loss to Illinois

Until next time …

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at ryan.kartje@latimes.com, and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.