Tony

When Charlie Sheen needed his then-13-year-old daughter taken to a hair appointment because he was too drunk to drive, he turned to his sober friend, Tony Todd.

When Sheen wanted to meet Carlos Estévez because the major league pitcher shared Sheen’s given name, he turned to his connected friend, Tony Todd.

When Sheen was in the throes of a crack addiction, fired from his starring role on “Two and a Half Men” and in need of an unwavering voice of encouragement, he turned to his non-judgmental friend Tony Todd.

“There are so many fake friends in Charlie’s life,” Todd said. “I’ve been there for him since we were little kids. The cool thing is, we’ve never had an argument.”

Thanks to the recent Netflix documentary “aka Charlie Sheen” and publication of “The Book of Sheen” memoir, Todd’s 50-year friendship with the mercurial actor has been revealed to the world. Todd’s social media accounts have since been flooded with praise from viewers far and wide.

“I had to reach out immediately to say you were and remain an angel from heaven.”

“You are the friend we would all like to have man, greetings from Spain!”

“Dear Tony, If you ever visit Istanbul, it would be our honor to host you in our hotel…. You are not only a great actor but also a true friend.”

“You … are a stellar human being [heart emoji].”

Todd and Sheen have been pals since they bonded through baseball, first on Little League fields in Malibu, then on the Santa Monica High School team, then while taking batting practice in Sheen’s posh indoor batting cage, then while putting on power-hitting displays at local high school fields and even Dodger Stadium.

And their friendship spread into their private lives, with Todd serving as best man at the first two of Sheen’s three marriages and serving as a drug-free wingman even when Sheen descended into a chaotic, self-destructive morass of cocaine, alcohol and reckless sex.

“There’s never been a call he hasn’t answered, there’s never been a crisis he didn’t help solve,” Sheen said in a phone interview. “Tony Todd has always been a friend, and a true one.”

The documentary “aka Charlie Sheen” is a first-person tell-all, with the narrative helped along by Sheen’s oldest brother, Ramon, childhood neighbor Sean Penn, “Two and a Half Men” co-star Jon Cryer and executive producer Chuck Lorre, drug dealer Marco Abeyta and ex-wives Denise Richards and Brooke Mueller.

And, of course, Todd. He laughs. He cries. He exudes honesty and empathy.

“He’s just one of my favorite people to have around in any situation,” Sheen said.

All of it certainly has made Todd — not to be confused with the actor of the same name who starred in “Candyman” and died a year ago — fame-adjacent.

Although he has enjoyed a career that includes acting/stuntman roles in both “Black Panther” movies and acting roles in the movie “Little Big League,” the TV show “Anger Management” and more than two dozen national commercials, Todd is best known in Santa Monica as the dude who can’t say no to volunteer fundraisers and sports a vanity license plate that reads “NVR KWT.”

Just this summer he helped raise $10,000 for Santa Monica Little League by hosting an outdoor screening of “Little Big League” and tapping into his vast contact list of pro athletes and A-list entertainers to attract silent-auction items.

And Todd was hailed as a “real hero” by authorities after he gave $700 to a family of five who had been robbed of their rent money in Lancaster in 2018. He was “so moved by the family’s story” that he jumped in his car and drove from Santa Monica to the high desert to hand-deliver the money.

His friendship with Sheen resonates with many, in part because Todd professes never to have taken a drug or a drink. Sheen, of course, was the poster man-child of substance abuse until becoming sober in December 2017, the day he relinquished his car keys to Todd to drive his daughter Sami to a hair salon appointment in Moorpark.

When Sheen was addicted to crack, Todd moved into his friend’s Mulholland Estates house in Beverly Hills. Even then, Sheen wouldn’t smoke the drug in Todd’s presence, and they often would end evenings watching MLB Network or ESPN’s “Sports Center.”

“I didn’t do hard stuff in front of him, just out of respect,” Sheen said.

Todd wept in “aka Charlie Sheen” when he explained why he continued to live with his friend knowing the actor was often smoking crack in the next room.

“I just can’t leave him to die,” he said.

Happier times occurred when they would head to a ball field to hit. Years earlier, after suffering a shoulder injury, Sheen had learned to bat left-handed, taking a hundred or so swings a day off an Iron Mike pitching machine in his indoor batting cage.

While filming a DirecTV commercial at Dodger Stadium in 2007, Sheen stepped into the batter’s box during a lunch break and crushed a pitch over the right-field wall. Todd whooped and hollered, in no small part because he had bet a Dodgers employee that his buddy would go deep.

“I knew it was going to happen because of all the [batting practice] we’d been taking,” Todd said.

Sheen also increased his strength by taking massive doses of testosterone, which he mentions in the documentary and alluded to in a 2015 interview when he said his HIV-positive diagnosis wasn’t the reason for his epic meltdown in 2011 after he was fired from “Two and a Half Men.”

“I wish I could blame it on that, but that was more of a ’roid rage,” said Sheen, who earlier had admitted he took steroids ahead of filming the 1989 hit movie “Major League,” in which he played pitcher Ricky (Wild Thing) Vaughn.

Todd had a video shot of batting sessions at Oak Park and Santa Clarita Hart high schools around 2008. Sheen hit a home run Todd estimated traveled 445 feet at Oak Park and hit a barrage of homers at Hart in the presence of Hall of Fame slugger Eddie Murray and the Hart High team.

Todd followed Sheen’s power display at Hart with a home run of his own. Todd was a talented-enough baseball and football player to earn a double scholarship to USC, although a serious injury his senior year in high school cost him the free ride.

His baseball ability landed him the role of Mickey Scales in “Little Big League” and his astonishing speed delighted Sheen even into their 40s. During one of their batting sessions at Oak Park High, Todd was challenged to a race around the bases by an onlooker.

Sheen told the man to start the race at second base while Todd started at home plate.

“By the time they rounded third, Tony had passed him, and after touching the plate he grabbed a glove and pretended to tag the guy when he reached the plate,” Sheen said, laughing.

Todd served as a baseball coach at Santa Monica High for several years, and in 2013 he lobbied for the school to award Sheen his diploma — the actor had been 1½ credits short 30 years earlier and hadn’t graduated.

Todd reached out to his friend Ross Mark, who handled bookings for “The Tonight Show With Jay Leno,” and they concocted a plan to have Sheen on as a guest and for Leno to surprise him with the diploma.

Todd walked on stage with the diploma and Sheen — who had quickly donned a cap and gown — gave him a hug, his lifelong friend having effectively smoothed over one more rough patch in his life.

BELOVED Brit soap actor Tony Adams who starred in Crossroads has died aged 84 with tributes pouring in.

The legend died at Sussex County Hospital in Brighton on Saturday, with his wife Christine by his side.

Anthony Sawley Adams was born in Anglesey, Wales, in 1940 and later trained as an actor at the Italia Conti theatre school.

Following performances on the stage, he made his name as Dr Neville Bywaters in the 1970s soap General Hospital and appeared in the Dr Who series The Green Death.

In 1978, he took on the role of accountant Adam Chance in soap Crossroads – the role for which he became best known.

The series ended in 1988 after more than 4,500 episodes, with Adams staying until the end.

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He was one of the original cast members, including Jane Rossington and Kathy Staff, who returned when the soap was revived in 2001.

Adams then appeared in the stage version of Chitty Chitty Bang Bang at the London Palladium Theatre, where he played Grandpa Potts, in 2004.

In 2023, he had a cameo role in Nolly – a three-part drama created by Russell T Davies which tells the story of Crossroads actress Noele Gordon.

Actor Augustus Prew, who played Adams in the drama, described him as a “magical man” during interviews at the time.

Michael Rose, of The Michael Rose Organisation Ltd, paid tribute to Adams as an “absolute joy” and a talented actor, dancer and singer.

“He was one of the warmest gentlemen you could wish to work with,” Mr Rose said.

“He was an absolute joy. He was a dancer originally but there was nothing Tony couldn’t do.

“He was a very accomplished actor, he was a really good dancer and singer.

“He played Grandpa Potts in Chitty Chitty Bang Bang and was a joy to have in the company, as he was in every company.

“We shall miss him.”

Channel 4 soap Hollyoaks fans are convinced they know who shot Tony Hutchinson after he was left fighting for his life on his wedding day

In a shocking turn of events on Hollyoaks, Tony Hutchinson was shot on Wednesday (October 22) episode, leaving viewers in suspense about his fate.

The drama unfolded during a crossover episode with Brookside on Channel 4, where a plane piloted by serial killer Jez (Jeremy Sheffield) crashed into the village, causing a massive explosion.

However, the chaos didn’t stop there. On what was supposed to be his wedding day to Diane (Alex Fletcher), Tony (Nick Pickard) found himself confronted by Darren Osborne (Ashley Taylor Dawson) for having an affair with his wife Nancy (Jessica Fox).

Darren was livid upon discovering that Tony is the biological father of his daughter, Morgan, following a past fling with Nancy. Their heated argument was briefly interrupted by the plane disaster, but quickly resumed, much to the dismay of Tony’s son, Ant Hutchinson (Brook Debio).

Adding to the confusion, Tony believed he had got Marie Fielding (Rita Simons) pregnant, only to find out she was wearing a fake baby bump. Meanwhile, Mercedes McQueen (Jennifer Metcalfe) was also expecting his child, reports the Manchester Evening News.

Tragedy struck when Mercedes lost her baby in the aftermath of the plane crash. Tony had left her trapped under debris as he rushed to save Marie, a decision that will haunt him.

Diane (Alexandra Fletcher) stepped up to rescue Mercedes, mirroring how Mercedes had previously saved her. Now, both Mercedes and Diane are furious with Tony – Mercedes for her heartbreaking loss, and Diane for her groom’s reckless behaviour.

In a later scene, Darren was seen in tears as he pointed a gun at Tony, who pleaded for his life. Suddenly, a gunshot echoed from behind Tony, and he collapsed to the ground after being shot.

Now, Tony’s fate hangs in the balance.

Hollyoaks viewers are now speculating about who could have shot Tony, with some suggesting that his own son Ant might be the culprit following their earlier disagreement.

One fan took to X, formerly known as Twitter, to ask: “So…Who shot Tony? My guess is Ant! #Hollyoaks.”

Another declared: “I’m calling it ant was the one who shot Tony! He was pretty mad at his dad #hollyoaks.”

A third joined in, saying: “My early theory for who shot Tony in #Hollyoaks: It was Ant!”.

“I feel like Ant was probably the 1 that shot Tony #hollyoaks”, another viewer added.

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

Tony Shalhoub is loath to compare his upcoming CNN series, “Breaking Bread,” to the travel food shows hosted by his frequent collaborator Stanley Tucci, who directed him in the gourmand classic “Big Night.”

“I don’t consider myself a foodie,” Shalhoub says in a video interview. “He is the ultimate foodie, amazing chef. He really knows what he’s talking about and I don’t know anything.”

But Shalhoub, best known these days as one of the stars of “The Marvelous Mrs. Maisel,” makes up for his lack of knowledge with utter enthusiasm. As host and executive producer of “Breaking Bread,” premiering Sunday at 9 p.m. Pacific, he traipses the globe trying different breads and bread-related products while uncovering stories of how these staples relate to migration, labor and his own family history. In fact, the legacy of Shalhoub’s father, who settled in Wisconsin after leaving Lebanon, is present in multiple episodes. The elder Shalhoub’s love of the stuff served as one of the inspirations for the whole enterprise.

“We were eating most often bakery bread rather than just commercial store-bought packaged bread, and he really had a great appreciation for it and wanted to model that for us,” Shalhoub says.

Still, Shalhoub’s goals go beyond food porn. Days before the premiere, Shalhoub spoke about why he sees “Breaking Bread” as being about something bigger. This conversation has been edited for clarity and length.

How did doing a food show even come to you?

Well, I was so enamored of Stanley [Tucci’s] show.

I was going to ask if Stanley had something to do with it.

We never really talked about it a lot, but I’ve been inspired by Stanley for so many things. But even prior to his travel food show [“Searching for Italy”], a nephew of mine [Michael Matzdorff], when I lived in Los Angeles, came to me and he was making bread at the time. This was way before the pandemic, when that became the thing to do. We got into talking about bread, and I was so impressed by what he was doing in his own kitchen, and he just casually mentioned, “Wouldn’t it be cool to explore bread making all over the globe?” We got a pitch together. It didn’t really get a lot of traction then, and this was a couple decades ago, but the idea stayed with me. I mentioned it to another friend who’s a producer on the show, Tamara Weiss, and she just kind of had this great idea to reformat it, and I guess the timing was right.

Was this your nephew that appears in the Tokyo episode or a different nephew?

This is an older nephew than that. I have many nephews and many nieces and they’re all geniuses. But there’s another leg to this too, aside from my fascination with bread and bread around the world. I’ve been acting for so many years and felt very fortunate with all of the breaks that I’ve gotten. But I’ve been starting to feel a little bit like I wanted to reconnect to the world again, in some way. When you are working and your experiences are mostly coming through scripted, mostly fictional stuff, after a while, there’s that possibility that you start to feel a little disconnected from actual life and the world. That also was one of the main drivers here. I wanted to meet new people, travel to new places or even familiar places, but with a different point of view. In a lot of ways, it’s been eye-opening. The food component aside, I’ve found it’s been really good for me. You get out of your own head and out of your own sphere, and you’re reminded that there’s so much else going on out there.

How did you choose where you were going to go? So many of the places have a personal connection for you: You said you wanted to start in Lebanon, where your father is from, but the political situation didn’t allow for it so you went to Brazil, where there is a large Lebanese population. You spend time in New York, where you live, and Wisconsin, where you are from.

We initially had a list of about 12 different locations, and some of those were locations that I just thought, “Boy, it would really be fun to travel there.” When we got into it with CNN, you know, especially for the first season, they wanted for me to have a personal connection to each of these locations. We gave them a list of about 10 places, and they chose six. So obviously New York, because this is now my second time living here in the city, and I love it. I consider it my home and where so much of my career has taken place. I think Marseille, because even though I traveled to France several times, is a place where my father, when he was immigrating from Lebanon over a hundred years ago, as many immigrants did, had to stop in Marseille in the process. We’ve always been curious about that part of his journey because we knew about his departure from Beirut, and we knew about his arrival in Ellis Island, but we didn’t know about the middle part of his journey. So we were able to explore that and get some more new information about that.

Members of your family also show up, including your daughter Josie Adams and another nephew. Why did you want to involve them?

Whenever there’s a discussion about bread or about food in general, it mostly stems from or grows out of my childhood, growing up, my parents, my other older relatives, and I guess that’s the closest connection for me. It has been such a part of what connects us all.

Tony Shalhoub with his daughter Josie Adams and pastry chef Pierre Ragot in the Marseille episode of “Breaking Bread.”

(CNN Original Series)

How did your relationship to bread, clearly something you love, change over the course of making the show?

The main takeaway was that the show, for me, really became more about the people that I met than the product itself. There were familiar things, some of them done in a kind of innovative and new way and other things that I had not experienced before or tasted before, but [it was] really more about the people and their devotion to that work and the reasons that they become so obsessed and so devoted to that kind of work. For me, the show really becomes about those stories and those histories, whether it’s a family history or a story about immigration or a story of a war-torn country. To be really frank about it, bread is really more the vehicle that brings us into these other discussions.

I want to say this in a very tactful way, but the risk of doing this kind of show is that there is a point, I believe, of diminishing returns when we talk about food. This is my fear. It was like, will someone stand up and say, “Stop it.” There’s so many important things that are going on that deserve our focus and our attention, but because we’re talking about food, it’s inevitable because we have to have it every day. It sustains us, and that’s all fine and good, but I’ve been thinking about this a lot, and I want bread to be that thing that sparks other conversations.

In the Marseille episode, you uncover part of your father’s story, discovering details of his trip to America in the municipal archives. What was that experience like?

It was quite moving and also doing it with my daughter and having those discussions with my daughter. She didn’t know my father because he passed away before she was born. But I don’t think I would’ve had the opportunity or the access to uncover these things had I not been doing this show at this time in that city. It would’ve just gone undiscovered and unknown.

Obviously, you’ve eaten on screen before, that’s part of an actor’s job, but did you think about how you were going to react to what you try?

I didn’t really think about it or plan it. I wanted to figure out ways to avoid or sidestep stock reactions. “God, that’s delicious.” Of course, that’s what everyone says when they’re eating something exciting and new. But I was really trying to stay open and rather than using words, a lot of times I just felt I let it go into my body and my body kind of did the work.

There’s a moment when you almost do a little dance.

Because some of this stuff just transcends words.

Was there something you tried that truly surprised you?

Certainly, I think given the amount of pastry I consume and have consumed in my lifetime, I thought that Mary O’s Irish Soda Bread scones were kind of a revelation. I’ve made scones. I’ve had scones. I love them, but this was revelatory. In Brazil they couldn’t grow wheat for a time, and before they were importing it, they were relying on cassava flour everywhere. They make a cheese bread. They were making it out of cassava flour, which is delicious, not heavy, and no gluten and all of that, and with cheese. Somehow miraculously, you’re eating these things and you’re never feeling full or bloated.

Just when you thought prospects for the future of the Gaza Strip could not get any bleaker, United States President Donald Trump has unveiled his 20-point “peace plan” for the Palestinian territory, starring himself as the chair of a “Board of Peace” that will serve as a transitional government in the enclave. This from the man who has been actively aiding and abetting Israel’s genocide of Palestinians since January, when he took over the US presidency from former honorary genocidaire Joe Biden.

But that is not all. Also on board for the “Board of Peace” is former British Prime Minister Tony Blair, who will reportedly play a significant governing role in Gaza’s proposed makeover. To be sure, importing a Sir Tony Blair from the United Kingdom to oversee an enclave of Palestinians smacks rather hard of colonialism in a region that is already quite familiar with the phenomenon.

And yet the region is also already quite familiar with Blair himself, owing in particular to his notorious performance during the 2003 war on Iraq, led by his buddy and then-chief of the so-called war on terror, George W Bush. Swearing by the false allegations of Iraqi weapons of mass destruction, Blair steered the UK into a war that ultimately killed hundreds of thousands of Iraqis, earning him a most deserved reputation as a war criminal.

In other words, he is not a guy who should under any circumstances turn up on a “Board of Peace”.

And while Bush would subsequently retire to a quiet life of painting dogs and portraits of Russian President Vladimir Putin, Blair continued to make a name for himself as the man the Middle East just cannot get rid of – and to make a pretty penny while at it.

After resigning as prime minister in 2007, Blair was immediately reincarnated as Middle East envoy for the “Quartet” of international powers – representing the US, the European Union, Russia, and the United Nations – that is ostensibly forever striving to resolve the Israel-Palestine issue.

But in this case, too, the appointment of an envoy with close relations to Israel – the unquestionable aggressor to the “conflict” – pretty much obviated any advancement in the direction of “peace”.

Furthermore, Blair’s diplomatic activity conveniently overlapped with an array of highly lucrative business dealings in the region, from providing paid advice to Arab governments to signing on as a part-time senior adviser in 2008 with the US investment bank JP Morgan. For the latter post, Blair was said to be compensated in excess of $1m per year.

As Francis Beckett, coauthor of Blair Inc: The Man Behind the Mask, told Al Jazeera in 2016 – the year after Blair stepped down as Quartet envoy – “the difficulty was that when he went to meetings in the Middle East, nobody knew which Tony Blair they were seeing – whether it was Tony Blair the Quartet envoy or Tony Blair the patron of the Tony Blair Faith Foundation or Tony Blair the principal of the consultancy firm Tony Blair Associates”.

But, hey, the point of conflicts of interest is that they pay off.

In a 2013 article for the Journal of Palestine Studies, award-winning journalist Jonathan Cook noted that, while Blair had little to show in terms of “achievements” as Quartet representative, he liked to “trumpet one in particular: his success in 2009 in securing radio frequencies from Israel to allow the creation of a second Palestinian cell phone operator, Wataniya Mobile, in the West Bank”.

There was a catch, however. As Cook details, Israel released the frequencies in exchange for an agreement from the Palestinian leadership to drop the issue at the UN of Israeli war crimes committed during Operation Cast Lead in Gaza, which was launched in December 2008 and killed some 1,400 Palestinians in a matter of 22 days.

And what do you know? “Blair had private business interests in negotiating the deal,” and it so happened that “not only Wataniya but also JP Morgan stood to profit massively from the opening up of the West Bank’s airwaves.”

Now, it is hardly an exaggeration to assume that Blair will seek to capitalise on his impending governorship of Gaza, as well, as there are no doubt plenty of opportunities for the Tony Blair Institute for Global Change in, you know, changing the world to definitively screw over the Palestinians.

One focus of Trump’s 20-point plan, incidentally, is the “many thoughtful investment proposals and exciting development ideas … crafted by well-meaning international groups” that will magically produce “hope for future Gaza”. After all, why should Palestinians care about having a state and not being perennially massacred by Israel when they can have capitalism and the tyranny of foreign investors instead?

And the face of that tyranny may well be Blair, whose synonymousness with the slaughter of civilians in the Middle East has not prevented him from being once again tapped as a regional peacemaker.

This is not to say that Blair has no fans aside from Trump and the Israelis. For example, New York Times foreign affairs columnist Thomas Friedman, a fellow Orientalist and Iraq war cheerleader, once praised Blair as “one of the most important British prime ministers ever” for having decided to “throw in Britain’s lot with President Bush on the Iraq war”, thereby not only defying “the overwhelming antiwar sentiment of his own party, but public opinion in Britain generally”.

There was, it seemed, no end to Friedman’s admiration for Blair’s antidemocratic stoicism: “He had no real support group to fall back on. I’m not even sure his wife supported him on the Iraq war. (I know the feeling!)”

Now, as Gaza’s fate continues to hang at the mercy of Blair and other international war criminals, perhaps his wife should suggest that he take up painting instead.

The views expressed in this article are the author’s own and do not necessarily reflect Al Jazeera’s editorial stance.

Jacklin considered himself a winner, always striving for improvements. In 1969 he became first Englishman in 18 years to win The Open. He followed that in 1970 by clinching the US Open. The only other Englishman to win both is Jim Barnes, in the 1920s.

But six of his seven Ryder Cup appearances ended in heavy losses.

The outlier was the 16-16 draw at Royal Birkdale in 1969, which was secured when Nicklaus conceded Jacklin’s three-foot putt on the last hole in what has gone down as one of sport’s great moments.

The margin of defeat was 15 points on his debut in 1967, and throughout the 1970s the gap was never fewer than five.

In 1977, the final match as GB&I, the number of matches was reduced.

Sir Nick Faldo, who won all three of his rubbers on his debut in that edition at Royal Lytham and St Anne’s, told BBC Sport: “We played only one session per day because they didn’t want the thought that America would be so far ahead that the singles would be obsolete.”

The US still won 12½-7½.

In came the European blood for 1979. Newly crowned Open champion Severiano Ballesteros and his fellow Spaniard Antonio Garrido bolstered the dozen heading to West Virginia. But little changed.

“We went to The Greenbrier and they didn’t know who we were or what to call it,” recalled Faldo. “I’ve got a little plate which has the International Ryder Cup on it.”

A sense of frustration was palpable in Jacklin as he recalled what turned out to be his final appearance as a player.

“It was all done on a shoestring budget,” he said. “It was all too similar to what I’d experienced before, when you couldn’t take your own caddie, the players wore anything they were given and thought their only job was to turn up.

“But the Americans were treated like kings. First-class travel, nice clothes.”

Jacklin also still rails against the “disruptive” behaviour of Mark James and Ken Brown at that Ryder Cup.

“They did every bloody thing they could to jeopardise our chances,” he said. “They were like spoilt children. They didn’t turn up to meetings at the right time, they wore the wrong clothes.

“They were a total disgrace, and I would have sent them home if I’d have been the captain.”

European skipper John Jacobs was also unimpressed, saying they turned up “dressed as though they were going on a camping holiday”.

James, who would go on to captain Europe to a narrow defeat at Brookline in 1999, received a £1,500 fine for “unprofessional conduct”.

Brown, who has forged a career as a successful TV commentator, later admitted “it wasn’t the greatest moment of my career”. He was fined £1,000 and given a one-year ban from international duty.

A US team that featured eight rookies and was without leading players Nicklaus, who failed to qualify, and Tom Watson – absent for the birth of his first child – still pulled away in the singles to win 17-11.

The 1981 edition was even more lopsided. Generally regarded as the best dozen ever assembled, with 11 players having won major titles, the US rampaged to an 18½-9½ victory at Walton Heath in Surrey.

Jacklin was left out of the side, with Jacobs preferring the “disgraced” James. Also on the sidelines, incredibly, was Ballesteros.

The mercurial Spaniard had become the first European to win the Masters in 1980, adding to his 1979 Open triumph, but was at loggerheads with the tour over appearance fees.

It was the final straw for Jacklin. “After that happened, I was done with the Ryder Cup,” he said.

“Seve was at his absolute zenith. He was Tiger Woods before Tiger Woods existed.

“I didn’t think they were interested in winning. I thought they were only interested in having a team that could get beaten up.”

FORMER Sun journalist Tony Grassby died yesterday aged 69.

TG, as he was known to friends and colleagues, joined in 2000 and became a hugely talented and respected member of the production team.

He left The Sun in 2018 and retired to Croatia where he died in hospital after a brief illness.

TG was a dedicated supporter of Chelsea and Bristol City, and a huge heavy metal fan.

His career began in 1973 on a local paper in North Somerset

He also worked at Today, the Sunday ­Mirror and Daily Star.

Ex-colleagues paid ­tribute, describing TG as “one of life’s good guys”, “a joyful character who was never in a bad mood” and “a warm, caring fella who was also a brilliant journalist”.

He is survived by his five children, four grandchildren, ex-wife, three sisters and mother Mary.

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NCIS: Tony & Ziva has been a hit with fans and a second season is yet to be confirmed, but star Michael Weatherly has spoken out about the possibility of a crossover

NCIS: Tony & Ziva has already got viewers completely captivated and fresh episodes are being released each week on Paramount+.

The offshoot of the enduring crime drama NCIS features Michael Weatherly and Cote de Pablo returning to their beloved characters Tony DiNozzo and Ziva David.

The fresh series represents their first joint appearance in 12 years following NCIS season 11, and the original reveal drove supporters absolutely wild.

Weatherly, who additionally served as executive producer on the programme, chatted exclusively to Reach publications regarding a possible collaboration with the main cast.

When questioned about whether any character from the original NCIS might feature, he responded: “I think that’s a great question for everybody, whether that’s feasible.”

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“For me the answer is of course, I would love to see that and really it’s just about making it the most quality appearance.

“You don’t want to just stunt cast, somebody with Mark Harmon’s haircut who walks by in the background and they are like ‘Oh, is that Gibbs?'”

“Or somebody with black pigtails with a spiderweb tattoo on her neck – that would have to be Abby.

“I think that would have to be heavily negotiated by all the powers that be, of which I am just a little micro contributor.”

The debut season comprises 10 episodes and is anticipated to wrap up on October 23.

Regarding the possibility of a second season, showrunner John McNamara revealed to TV Insider: “I try never to count my chickens before they’re hatched.

“I’m just focused on finishing this season and trying to make it as good as possible.

“And honestly, it is going to be entirely up to the fans and the subscribers to Paramount+ and ultimately to Paramount and CBS. It’s their property and it’s their money.”

The programme has received glowing feedback from both audiences and critics, with IMDb describing it as “both a nostalgia trip and a compelling continuation”.

Given this reception, supporters can stay optimistic about a second series and potentially even a crossover episode.

NCIS: Tony & Ziva airs on Thursdays on Paramount+.

Mexican Alvarez, 35, has won world titles in four different weight classes but faces an uncertain future after his third defeat in 68 fights since making his debut as a 15-year-old.

Undisputed light-heavyweight champion Dmitry Bivol, one of the three boxers to beat Alvarez, described him and Crawford as “legendary fighters”.

But Jake Paul, YouTuber turned boxer, said: “Canelo putting his hand up like he won. Canelo been overrated.”

Stevenson, who was ringside to support Crawford, said: “It’s a lot of soft fighters in the sport who are scared to fight against other great fighters.

“But salute to you champ, not being scared to put it on the line against everybody. You are a legend.”

Tony Kornheiser and Michael Wilbon have signed new contracts with ESPN that will keep them as hosts of “Pardon the Interruption” at least through the show’s 25th anniversary next fall, the network announced Tuesday.

The previous contracts for both men had expired in August. The new ones are described in an ESPN news release as “multiyear.”

The former Washington Post sports writers have hosted “PTI” since it debuted Oct. 22, 2001. The fast-paced sports debate show has won the Sports Emmy Award for daily studio show three times (2009, 2016 and 2019) and is ESPN’s most-viewed daily studio program.

“Tony and Mike have made PTI into a singular success story and every bit as relevant today as it has ever been,” Burke Magnus, ESPN’s president of content, said in a news release. “Their information and opinions are as smart and strong as ever, and they remain daily appointment viewing for sports fans.”

Kornheiser and Wilbon will continue their daily segment for the 3 p.m. Pacific edition of SportsCenter and Wilbon will also remain a part of ESPN’s NBA coverage.

The news came months after “Around the Horn,” another long-running sports debate show on ESPN, aired its final episode. That show ran from November 2002 until this past May and was paired with “PTI” on weekday afternoons, with “Horn” at 2 p.m. Pacific and “Interruption” at 2:30 p.m.

ESPN also announced an extension with Rydholm Projects Inc. to continue producing “PTI.” Executive producer Erik Rydholm and coordinating producer Matt Kelliher have been with the show since the beginning.

Rydholm was also the executive producer of “Around the Horn” as well as the former ESPN shows “Highly Questionable” and “The Dan Le Batard Show With Stugotz.”

Hollyoaks viewers are convinced that Mercedes McQueen will have a new romance with one of the show’s most beloved characters in the wake of her son Bobby’s death

Hollyoaks fans are speculating that Mercedes McQueen (portrayed by Jennifer Metcalfe) is on the brink of a new romance following the tragic death of her son Bobby Costello (Zak Sutcliffe).

In recent episodes of the Channel 4 drama, Tony Hutchinson (Nick Packard) was wrongfully arrested and jailed for Bobby’s murder. Bobby, an escaped prisoner, had crossed paths with Jez after discovering that the serial killer had taken the life of his social worker Ian.

Jez Blake (Jeremy Sheffield) went to extreme lengths to hide his crimes, leading to the brutal murder of Bobby in shocking scenes. His body was subsequently run over by Tony.

Mercedes is determined to prove that Chester legend Tony is responsible for her son’s death. However, upcoming scenes reveal that Diane Hutchinson (Alex Fletcher) is organising a fundraiser at The Dog to assist Tony with his legal costs, something Mercedes won’t take lightly.

But bringing Tony to justice might not be the only thing occupying Mercedes’ thoughts. Observant viewers are predicting she will start a new romance with Darren Osborne (Ashley Dawson), reports the Manchester Evening News.

Darren and his wife Nancy (Jessica Fox) have been fraught with worry following their daughter Morgan’s disappearance, causing tension between them.

However, more heartbreak is looming as it’s confirmed Darren is not Morgan’s biological father, revealing his wife’s infidelity.

Hollyoaks fans are convinced that the grieving Mercedes and troubled Darren will find solace in each other and begin an affair.

One fan speculated on X: “Gonna make some theories for what I think will happen in #hollyoaks within the next year: Darren will end up in a relationship with Mercedes.”

Another chimed in: “Bet with the Tony and Nancy stuff, Mercedes and Darren are gonna be a item next #hollyoaks.”

A third responded: “Oh dear god don’t even come up with that.”

“I definitely think Mercedes and Darren are gonna end up having an affair or something #hollyoaks,” another added.

While another declared: “Loving the Mercedes and Darren interaction #Hollyoaks.”

Hollyoaks airs Monday to Wednesday on E4 at 7pm and first look episodes can be streamed Channel 4 from 7am

In “NCIS: Tony & Ziva,” premiering Thursday on Paramount+, two popular characters from the CBS military procedural “NCIS,” have been brought back after several years and given a series of their own. Michael Weatherly and Cote de Pablo, as special agents Anthony “Tony” DiNozzo and Ziva David, so occupied the romantic fantasies of viewers that their names were portmanteaued into “Tiva.” (You can find thousands of instances of Tiva-themed fan fiction online.) As to the will-they, won’t-they of the relationship, they finally did, before they didn’t, and now they have a 12-year-old daughter, Tali (Isla Gie), whom they’re amicably co-parenting.

I have looked in on the franchise now and again, professionally, as new iterations have extended the length and breadth of the brand, which technically reaches back into “JAG,” from which it was spun off. But I’m not even going to attempt to pretend to have any real expertise in the adventures of a large rotating cast over 22 seasons. (It’s been renewed for a 23rd.) But I respect the institution — the original of which has been and may be now America’s most watched series — and its longevity, as I will salute your long marriage.

At the same time, once you know the basic premise of the show — it’s an elite military police procedural — it’s not hard to figure out where you are, wherever you drop in. The characters may be heroic or eccentric, but they’re heroic or eccentric within a recognized mold, with enough individual personality to make them lovable over a long run, and you can pick up on the interpersonal vibes pretty quickly.

Unlike earlier “NCIS” series, all based on broadcast television, “Tony & Ziva” is platformed on Paramount+, which means that characters utter a bad word now and again — it doesn’t get much edgier than that, and despite the sexual heat it’s hardly racy — and that there’s a budget which allows for foreign locations and big action scenes. And where the earlier shows, notwithstanding soap operatic long arcs, are fundamentally episodic, “Tony & Ziva” is a serial story, stretched over 10 episodes. Whether it’s stretched to breaking, we’ll have to wait and see; only four episodes out of 10 were offered for review.

The crime-fighting combo of a roguish guy and a no-nonsense gal is familiar from “Moonlighting” and “Castle.” Even the fact that the title joins Tony and Ziva with an ampersand and not an “and” indicates a certain lightness of tone, and when Tony, speaking of his company, says, “We try to walk that fine line between techno thriller and workplace comedy,” he is, of course, describing the very series he’s in. A strain of comedy is common to team-based procedurals, and it’s certainly part of what’s kept “NCIS” going strong all these years.

Given that the American brand hasn’t been as toxic, internationally and domestically, since the Vietnam era, possibly, and that “NCIS” series show around the world, it’s just as well that the presumed villains are (apparently) not the anti-American, freedom-hating terrorists one often finds in these things, but Bond-type stateless actors merely seeking power and money.

Additionally, the series — whose earlier iterations have been based in Washington, Los Angeles, New Orleans, Hawaii, Sydney and, in last year’s prequel, “NCIS: Origins,” exotic Oceanside, Calif. — is set in Paris, where, having gone civilian, Ziva has opened a fancy language school and Tony runs a high-end security service. (Among his clients: Interpol. You can’t get more European than that.) Along with easy access to croissants and café au lait, our heroes have the benefit of not having to wax patriotic about a country in which they no longer live. It feels very 2025.

The series’ MacGuffin is a magical thumb drive that, when plugged into a computer system, can seemingly do anything at all; possessing it, therefore, is an issue for both the good guys and the bad, into whose respective hands it goes in and out. When villains use it to frame Tony for extorting money from a hospital and threaten Tali’s life, Tony and Ziva are dragged back into a life of running, shooting, reckless driving and fisticuffs. “Two words,” says Tony, observing Ziva take apart a thug endangering her daughter. “Jewish mother.”

Most important, it puts the pair on the run together — the opening episodes find them (ostensibly and/or actually) in France, Italy, Switzerland and Hungary — and into constant close quarters, where old tender feelings simmer and the question of sharing a bed arises, as in “The 39 Steps,” the greatest of all innocent-and-on-the-run romances.

Ziva, whose pre-NCIS employment was as an assassin for the Israeli secret service — perhaps not the best job for a TV heroine to have on her resume nowadays, but it’s not an issue here — has hung on to an arsenal and plural safe houses. (“Have I ever told you how deeply I appreciate your paranoia?” Tony tells her.) And they’ve both kept their old NCIS badges, which they will flash to dazzle security guards and the like.

Along the way they pick up Boris (Maximilian Osinski), a non-aligned Russian hacker who made the MacGuffin in the first place, and his chirpy fiancee Fruzsi (Anne-Marie Waldeck), who provide both comedy and the image of a healthy, all-in romantic relationship to contrast with that of our hesitating heroes. Filling out the ranks are Tali’s capable nanny, Sophie (Lara Rossi), and Tony’s resident tech whiz, Claudette (Amita Suman), because you apparently can’t plot a thriller anymore without computers at the center of things. By virtue of being Tony’s friend and Tali’s godfather, Interpol exec Henry (James D’Arcy) is the sort of character you expect to turn out to be bad, though it’s up in the air. I’ll say no more about Martine (Nassima Benchicou), other than that Benchicou is very good at being very bad.

Created by John McNamara (“The Magicians”), not previously part of the “NCIS” world, “Tony & Ziva” can be quite absurd, depending heavily on suspensions of disbelief, or a viewer just not thinking too hard. This does not set it apart from a great many such screenplays, and the series does not shy away from genre tropes — the car chase through a marketplace, a fight with a seemingly unbeatable big bald bruiser. Indeed, it embraces them.

But what makes the show worth watching are Weatherly and De Pablo, two extremely attractive middle-aged people with genuine chemistry; he’s superheroically unflappable without ever seeming anything but a regular Joe. She’s sad and serious and not to be messed with. They’ve been around; they have worn edges, and when they intersect, it generates something authentically sweet, as real as the rest of the series is improbable. There’s a reason for all that fan fiction.

“Andor” has been the “seminal creative experience” of Tony Gilroy’s life.

The filmmaker spent over five years steeped in the world of the “Star Wars” prequel series, which follows resistance fighter Cassian Andor (portrayed by Diego Luna) during the nascent days of the Rebellion. On Tuesday, “Andor” earned 14 Emmy nominations for its second and final season, including in the marquee race for drama series.

“It’s hard to imagine that I’ll ever be as deeply invested with as much and so submerged with so many people in such a huge endeavor,” Gilroy said via Zoom after the nominations announcement. “It’s a life experience as much as anything else. Everybody on this show really came away with a deeper sense of community and affection than they went in with.”

In addition to drama series, “Andor” was nominated for its directing, writing, cinematography, production design, costume, editing, score, original music, sound editing, sound mixing and special effects. Performances by Forest Whitaker (guest actor) and Alan Tudyk (character voice-over) were also recognized.

A grounded, political spy thriller, “Andor” is set during the five years leading up to the events of “Rogue One: A Star Wars story,” the 2016 film on which Gilroy is credited as one of the writers. The series has been hailed by critics and audiences since its 2022 debut, captivating both longtime “Star Wars” fans as well as those who don’t know an Ewok from a Wookiee.

Cassian Andor (Diego Luna) and K-2SO (Alan Tudyk) in “Andor.”

(Lucasfilm Ltd)

The show’s second season, which unfolds over the span of four years, provided key glimpses into the Galactic Empire’s operations as well as the origins of the Rebel Alliance. And while the show is inspired by revolutions past, Gilroy admits it has been “spooky” to see current events parallel moments from the show.

In an interview with The Times, Gilroy discussed “Andor’s” nominations, real-life parallels and more. The conversation edited for length and clarity.

Congratulations on the 14 nominations! How are you feeling?

I’m trying to find a word that everybody you’re calling doesn’t use. I feel affirmed. It’s very exciting, obviously.

Where were you and what were you doing when you heard the news?

I waited and I took a ride and took a shower and got out and saw my phone was hot. I waited to see if my phone was hot.

Is there an “Andor” group chat where you all can chat in a thread together?

No. Well, maybe there is and I’m not on it. It’s more text mania. Then you have to figure out who’s on WhatsApp, who’s on this, who’s on that. Everybody’s on different s—. It’s actually really f— complicated, to be honest. Now I’ve got emails to answer, WhatsApps to answer.

What has it been like for you to be on this ride with this show as real-life events start to parallel what happened on the show? It feels like we’re living through so much of it now.

It’s been spooky. We had to do a very interesting thing, I think, and figure out how to sell the show while this was all happening without us getting confused, or the world getting confused, or anything else. So I’m really proud. We went all around the world and really sold it really hard. It’s hard to get a large audience to watch “Star Wars” — it’s strange, but it’s really difficult. Along the way I think we managed through the relevancy and the politics of it as successfully as we could. I think now things are a little bit looser. We’re a little bit more free with how we want to speak now so that’s a little bit liberating.

How hard is it to hold some of that in while you’re trying to appeal to an audience?

There wasn’t anything really cynical about it. Everything we said was legit. The historical model is truly what we were doing, and we’re not espousing an ideology in the show or anything like that. But we were also quite taken aback as things went along, at the amount of things that started rhyming with what was going on. Watching Sen. [Alex] Padilla get [handcuffed] while we’re watching the Ghorman senate — there’s things we did not expect to see lining up. It’s really tough and it should be obvious what people think about it.

One of the show’s nominations was writing for Episode 9.

Dan Gilroy, nominated!

How does it feel to be able to share this moment with your brother?

All three Gilroy brothers were nominated today! It’s very pleasing to see that. There’s so many things on here that really, really, really, make me smile. It’s really great that [production designer] Luke [Hull] and [costume designer] Michael Wilkinson [were nominated]. All the technical things that came in for us today were really satisfying. All these awards are community property no matter how people talk about it. You know how many people it takes to stand behind every one of these episodes. They’re just epic, the amount of people that are involved.

As you’re picking these individual episodes, how did Episode 9 stand out? What made it special for you?

We were really torn about what to [submit]. We had three candidates that we really were really interested in. In the end, people felt — direction wise — that the Ghorman massacre, Episode 8, was such a powerhouse. It’s such a strong flavor and so memorable that we could not have that beat for direction. And we also felt that [Episode] 9, it’s just so sophisticated. The spy writing and the sleekness of the politics and the sleekness of the storytelling in there and the scale of the issues for the characters that came up. That was always the favorite for script.

Since you mention Ghorman, what was memorable about working on that episode for you?

It’s always an experiment to see if you’re going to get the power out of things that you think you’re going to get. [So,] to watch that expand beyond where we thought it was going to be, and to have it affect us, the people making it, more than we expected. To have the extras walk off the set on the final day of shooting, when they were finally released, all the people in that square after months and they went off singing the Ghorman national anthem on their own on the way out of Pinewood [Studios]. I’m very proud of it.

That anthem is also nominated.

That’s really all I care about, Tracy. I’ve written a national anthem and it’s been nominated for an Emmy. [Laughs.]

Dedra Meero (Denise Gough) and Grymish (Kurt Egyiawan) in “Andor.”

(Lucasfilm Ltd)

Your time with “Star Wars” is pretty much wrapped up. What has it been like for you, being steeped in this world for so long?

“Rogue [One]” aside, just being on this show the last five and a half, six years, this is the seminal creative experience, I’m imagining, of my life. It’s hard to imagine that I’ll ever be as deeply invested with as much and so submerged with so many people in such a huge endeavor. I can’t imagine that will ever happen again. It’s a life experience as much as anything else. Everybody on this show really came away with a deeper sense of community and affection than they went in with. To make a great show, and we’re really proud of it, and to come away feeling the way that we feel about each other and what everybody did, I’m as proud of that as anything.

How are you going to celebrate?

I’m going to roll these calls and I’m going to go back to prepping the movie that I’m supposed to start shooting. I’ve got homework to do. I’m going to try and get an hour or two of work done before I go out for dinner with my wife. But I’ll have an extra cherry in my old fashioned tonight.

Tony Bellew is famed for being an ex-professional boxer and he’s also carved out a career in TV. Take a look into his life away from the cameras…

Tony Bellew is now a regular on our TV screens, with the star having graced shows like I’m A Celebrity and Celebrity Gogglebox in recent years.

Originally gaining recognition as a professional boxer, Tony has since become a television personality after hanging up his gloves in 2018.

He’s now set to feature on Alison Hammond’s Big Weekend, where the former boxer will share insights about his personal life, health, and family life with wife Rachael and their four sons.

Before his next telly stint, let’s delve into Tony’s life, from his remarkable career and net worth to his early days…

Tony’s early days

Tony, born Anthony Lewis Bellew, hails from Toxteth, Liverpool, born in November 1982.

His formative years were spent residing on Mulgrave Street in Toxeth, before the family relocated to Smithdown Road near Wavertree, reports the Liverpool Echo.

Tony took up kickboxing around the age of 10, spurred on by his father, despite harbouring dreams of becoming a footballer. Kickboxing paved the way for boxing for Tony, and he eventually decided to go pro.

Boxing career

Tony stepped into the professional boxing ring in 2007, making his debut with a 2nd-round TKO against Jamie Ambler. He continued to notch up several more victories in 2007 and 2008, and by 2009 had maintained an unbeaten record of 12-0.

He went on to square off against the likes of Nathan Cleverly, Mateusz Masternak, Ilunga Makabu and BJ Flores.

In 2017, Tony stepped into the ring for his first heavyweight bout against David Haye. He later returned to cruiserweight, taking on Oleksandr Usyk in 2018, but was defeated.

From 2010 to 2014, Tony held the British and Commonwealth light-heavyweight titles, as well as the European cruiserweight title from 2015 to 2016. He also held the WBC cruiserweight title from 2016 to 2017.

After his bout with Usyk, Tony announced his retirement. He hung up his gloves with a record of 30 victories from 34 professional fights, with 20 of those wins coming inside the distance. He suffered three defeats and one draw.

Post-retirement, Tony appeared on Celebrity SAS: Who Dares Wins in 2020. The following year, he joined the UK commentary team for DAZN and began regularly contributing to their boxing coverage.

In 2023, he participated in ITV’s I’m A Celebrity…Get Me Out of Here! and reprised his role as ‘Pretty’ Ricky Conlan in Creed III, a character he first played in the original Creed in 2015.

The former boxer also partnered with Everton goalkeeper Jordan Pickford for Celebrity Gogglebox, and took part in Soccer Aid this year.

Who is Tony Bellew’s wife?

Tony has been married to Rachael since 2018, but the pair have been together since their teenage years.

The pair first locked eyes as nine year olds living on the same street in Merseyside. Their paths crossed again years later when Tony, working as a bouncer, met Rachael at a nightclub where she was dancing, and their friendship blossomed into romance.

Their love continued to grow, and they are now proud parents to four sons: Corey, Cobey, Carter, and Carson.

In 2018, Tony and Rachael exchanged vows in a grand ceremony at Cheshire’s Peckforton Castle, surrounded by loved ones.

The boxer often expresses his admiration for his wife on social media. Last year, he penned a heartfelt tribute to mark their anniversary.

“I’ve been through everything with this girl and couldn’t have done or achieved anything without her! The day we came together was the most important day of my life.. I love ya more than you know @rachael_bellew, oh and I’m looking to play golf twice this week luv.. #Anniversary,” Tony wrote.

Tony’s net worth

According to The Net Worth Portal, Tony’s net worth is estimated to be £9.6 million as of 2023.

His most significant boxing payout came from his first fight with David Haye, reportedly earning him £2.8 million.

Tony’s 2018 bout with Usyk boosted his career earnings to a reported £15 million, largely due to pay-per-view sales and venue gate revenue.

Alison Hammond’s Big Weekend airs on Friday at 8.30pm on BBC One

Reuters

Reuters

Reuters

Tony Awards: The main winners

The 2025 Tony Awards winners are being announced in a telecast hosted by Cynthia Erivo, and it’s a night in which so many major categories remain tossups. Three musicals — “Maybe Happy Ending,” “Buena Vista Social Club” and “Death Becomes Her” — are tied with the most nominations, with 10 each. The best play frontrunners are an eclectic bunch too: Cole Escola’s crowd-pleasing romp “Oh, Mary!” Branden Jacobs-Jenkins’s Pulitzer Prize-winner “Purpose” and Kimberly Belflower’s “John Proctor Is the Villain,” a reexamination of “The Crucible.”

Hollywood’ invasion of Broadway is reflected in a starry list of acting nominees that includes George Clooney, Sadie Sink, Sarah Snook, Mia Farrow, Daniel Dae Kim, Darren Criss, Bob Odenkirk, Conrad Ricamora and Jonathan Groff. The performance that cut the deepest for Times theater critic Charles McNulty was six-time Tony winner Audra McDonald as Rose in George C. Wolfe’s revival of “Gypsy,” which he called “a harrowing reexamination of the musical through the historical prism of race.”

Here’s how to watch the Tony Awards, but if you can’t, check back here often. This list of winners will be updated in real time Sunday.

Lead actress in a play

WINNER: Sarah Snook, “The Picture of Dorian Gray”
Laura Donnelly, “The Hills of California”
Mia Farrow, “The Roommate”
LaTanya Richardson Jackson, “Purpose”
Sadie Sink, “John Proctor Is the Villain”

Original score

WINNER: “Maybe Happy Ending” (music by Will Aronson, lyrics by Will Aronson and Hue Park)
“Dead Outlaw” (music and lyrics. by David Yazbek and Erik Della Penna)
“Death Becomes Her” (music and lyrics. by Julia Mattison and Noel Carey)
“Operation Mincemeat: A New Musical” (music and lyrics by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts)
“Real Women Have Curves: The Musical” (music and lyrics by Joy Huerta and Benjamin Velez)

Costume design of a musical

WINNER: Paul Tazewell, “Death Becomes Her”
Dede Ayite, “Buena Vista Social Club”
Gregg Barnes, “Boop! The Musical”
Clint Ramos, “Maybe Happy Ending”
Catherine Zuber, “Just in Time”

Costume design of a play

WINNER: Marg Horwell, “The Picture of Dorian Gray”
Brenda Abbandandolo, “Good Night, and Good Luck”
Rob Howell, “The Hills of California”
Holly Pierson, “Oh, Mary!”
Brigitte Reiffenstuel, “Stranger Things: The First Shadow”

Scenic design of a musical

WINNER: Dane Laffrey and George Reeve, “Maybe Happy Ending”
Rachel Hauck, “Swept Away”
Arnulfo Maldonado, “Buena Vista Social Club”
Derek McLane, “Death Becomes Her”
Derek McLane, “Just in Time”

Scenic design of a play

WINNER: Miriam Buether and 59, “Stranger Things: The First Shadow”
Marsha Ginsberg, “English”
Rob Howell, “The Hills of California”
Marg Horwell and David Bergman, “The Picture of Dorian Gray”
Scott Pask, “Good Night, and Good Luck”

Lighting design of a musical

WINNER: Jack Knowles, “Sunset Blvd.”
Tyler Micoleau, “Buena Vista Social Club”
Scott Zielinski and Ruey Horng Sun, “Floyd Collins”
Ben Stanton, “Maybe Happy Ending”
Justin Townsend, “Death Becomes Her”

Lighting design of a play

WINNER: Jon Clark, “Stranger Things: The First Shadow”
Natasha Chivers, “The Hills of California”
Heather Gilbert and David Bengali, “Good Night, and Good Luck”
Natasha Katz and Hannah Wasileski, “John Proctor Is the Villain”
Nick Schlieper, “The Picture of Dorian Gray”

Choreography

WINNER: Patricia Delgado and Justin Peck, “Buena Vista Social Club”
Joshua Bergasse, “Smash”
Camille A. Brown, “Gypsy”
Christopher Gattelli, “Death Becomes Her”
Jerry Mitchell, “Boop! The Musical”

Orchestrations

WINNER: Marco Paguia, “Buena Vista Social Club”
Andrew Resnick and Michael Thurber, “Just in Time”
Will Aronson, “Maybe Happy Ending”
Bruce Coughlin, “Floyd Collins”
David Cullen and Andrew Lloyd Webber, “Sunset Blvd.”

Sound design of a musical

WINNER: Jonathan Deans, “Buena Vista Social Club”
Adam Fisher, “Sunset Blvd.”
Peter Hylenski, “ Just in Time”
Peter Hylenski, “Maybe Happy Ending”
Dan Moses Schreier, “Floyd Collins”

Sound design of a play

WINNER: Paul Arditti, “Stranger Things: The First Shadow”
Palmer Hefferan, “John Proctor Is the Villain”
Daniel Kluger, “Good Night, and Good Luck”
Nick Powell, “The Hills of California”
Clemence Williams, “The Picture of Dorian Gray”

Book of a musical

WINNER: “Maybe Happy Ending,” Will Aronson and Hue Park
“Buena Vista Social Club,” Marco Ramirez
“Dead Outlaw,” Itamar Moses
“Death Becomes Her,” Marco Pennette
“Operation Mincemeat: A New Musical,” David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts

Musical

“Buena Vista Social Club”
“Dead Outlaw”
“Death Becomes Her”
“Maybe Happy Ending”
“Operation Mincemeat: A New Musical”

Play

“English” by Sanaz Toossi
“The Hills of California” by Jez Butterworth
“John Proctor Is the Villain” by Kimberly Belflower
“Oh, Mary!” by Cole Escola
“Purpose” by Branden Jacobs-Jenkins

Revival of a play

“Eureka Day”
“Romeo + Juliet”
“Thornton Wilder’s Our Town”
“Yellow Face”

Revival of a musical

“Floyd Collins”
“Gypsy”
“Pirates! The Penzance Musical”
“Sunset Blvd.”

Lead actor in a play

George Clooney, “Good Night, and Good Luck”
Cole Escola, “Oh, Mary!”
Jon Michael Hill, “Purpose”
Daniel Dae Kim, “Yellow Face”
Harry Lennix, “Purpose”
Louis McCartney, “Stranger Things: The First Shadow”

Lead actor in a musical

Darren Criss, “Maybe Happy Ending”
Andrew Durand, “Dead Outlaw”
Tom Francis, “Sunset Blvd.”
Jonathan Groff, “Just in Time”
James Monroe Iglehart, “A Wonderful World: The Louis Armstrong Musical”
Jeremy Jordan, “Floyd Collins”

Lead actress in a musical

Megan Hilty, “Death Becomes Her”
Audra McDonald, “Gypsy”
Jasmine Amy Rogers, “Boop! The Musical”
Nicole Scherzinger, “Sunset Blvd.”
Jennifer Simard, “Death Becomes Her”

Featured actress in a musical

Natalie Venetia Belcon, “Buena Vista Social Club”
Julia Knitel, “Dead Outlaw”
Gracie Lawrence, “Just in Time”
Justina Machado, “Real Women Have Curves: The Musical”
Joy Woods, “Gypsy”

Featured actor in a musical

Brooks Ashmanskas, “Smash”
Jeb Brown, “Dead Outlaw”
Danny Burstein, “Gypsy”
Jak Malone, “Operation Mincemeat: A New Musical”
Taylor Trensch, “Floyd Collins”

Featured actress in a play

Tala Ashe, “English”
Jessica Hecht, “Eureka Day”
Marjan Neshat, “English”
Fina Strazza, “John Proctor Is the Villain”
Kara Young, “Purpose”

Featured actor in a play

Glenn Davis, “Purpose”
Gabriel Ebert, “John Proctor Is the Villain”
Francis Jue, “Yellow Face”
Bob Odenkirk, “Glengarry Glen Ross”
Conrad Ricamora, “Oh, Mary!”

Direction of a play

Knud Adams, “English”
Sam Mendes, “The Hills of California”
Sam Pinkleton, “Oh, Mary!”
Danya Taymor, “John Proctor Is the Villain”
Kip Williams, “The Picture of Dorian Gray”

Direction of a musical

Saheem Ali, “Buena Vista Social Club”
Michael Arden, “Maybe Happy Ending”
David Cromer, “Dead Outlaw”
Christopher Gattelli, “Death Becomes Her”
Jamie Lloyd, “Sunset Blvd.”

ST. LOUIS — The number of Dodgers pitchers on the injured list grew by one Saturday when the team sidelined Tony Gonsolin because of discomfort in his surgically repaired right elbow.

An All-Star in 2022 when he won 16 games, Gonsolin missed all of 2024 and the first 30 games this season after undergoing Tommy John surgery. He returned to make seven starts, going 3-2 with 5.00 ERA. In his last outing Wednesday against the Mets, he gave up two earned runs on three hits in five innings of a 6-1 loss.

Gonsolin, 30, is 37-13 with a 3.33 ERA in six seasons with the Dodgers.

His move to the IL further scrambles an already complicated situation for manager Dave Roberts, who is missing 16 pitchers because of injury, including three key starters in Blake Snell, Roki Sasaki and Gonsolin. It also leaves the Dodgers’ pitching rotation uncertain for this week’s key series with second-place San Diego.

Right-hander Dustin May is scheduled to start the first game Monday but Roberts will have to fill Gonsolin’s spot in the rotation Tuesday. One candidate for that opening is right-hander Matt Sauer, who has made seven appearances, including one start, for the Dodgers this season, winning his only decision and posting a 3.05 ERA in 20 2/3 innings. The Dodgers optioned Sauer to triple-A Oklahoma City on May 24.

Wednesday’s game could be a bullpen game, but that would be extra stress on a relief corps that already leads the majors in innings pitched.

Justin Wrobleski, who threw a career-high 104 pitches in a loss Friday to the Cardinals in his second start of the season, could get the start Wednesday.

The Dodgers made three other moves Saturday, activating relievers Michael Kopech and Kirby Yates from the injured list and designating right-hander Chris Stratton for assignment.

Burning questions abound ahead of Sunday’s 78th Tony Awards, hosted for the first time by Cynthia Erivo and broadcast live from New York’s Radio City Music Hall.

Will Branden Jacobs-Jenkins’ Pulitzer-winning “Purpose” win best play over comedian Cole Escola’s bawdy “Oh, Mary!”? Will George Clooney pull off a win for best performance by an actor in a leading role? Will “Maybe Happy Ending” get a truly happy ending by taking the statuette for best musical? It is, after all, leading the pack with 10 nominations, tied with “Buena Vista Social Club” and “Death Becomes Her.”

This season has been arguably one of the best in recent years for Broadway shows, with fine offerings including “John Proctor Is the Villain,” “Dead Outlaw,” “Real Women Have Curves: The Musical” and “Yellow Face.” Actors hoping to take home a Tony include Darren Criss, Daniel Dae Kim, Mia Farrow, LaTanya Richardson Jackson, Sadie Sink, Sarah Snook, Jeremy Jordan, Conrad Ricamora and Bob Odenkirk.

This year will also feature a 10th anniversary reunion performance by the cast of “Hamilton,” as well as a variety of spirited performances by this year’s crop of musical nominees.

So, how to watch it all?

Criss — who was nominated for the first time this year — and Tony-winner Renée Elise Goldsberry will host a live pre-show, “The Tony Awards: Act One,” which begins at 3:40 p.m. Pacific and can be viewed for free on Pluto TV, by clicking on the “live music” channel.

The main ceremony is scheduled to begin at 5 p.m. Pacific, directly after the pre-show. It will air live on CBS and be available to stream for subscribers of Paramount+ with Showtime. If you’re a regular Paramount+ subscriber, you won’t be able to watch the show until the following day, when it will be featured as a special on-demand option.

If you don’t have Paramount+, fear not. The streamer is offering a seven-day free trial. If you keep the service past the allotted time, it costs $12.99 per month. The regular Paramount+ plan without Showtime — called Paramount+ Essential — costs $7.99 per month.

NEW YORK — It had been more than two weeks since Juan Soto, the only man in baseball with a richer contract than Shohei Ohtani, had recorded an extra-base hit for the New York Mets.

In the bottom of the fourth inning Saturday night at Citi Field, however, Dodgers pitcher Tony Gonsolin provided him the perfect opportunity to get back on track.

After a solid opening three innings for Gonsolin, who was making an all-important start for the Dodgers a night after their 13-inning marathon victory in the series opener, the right-hander had made a mess for himself in the fourth.

With two outs, he issued back-to-back four-pitch walks to load the bases. The Dodgers’ early one-run lead then disappeared when Starling Marte reached on a half-swing infield single.

That brought up Soto, who had underperformed through much of his first two months in Queens after signing a $765-million mega-contract with the Mets. Gonsolin got ahead 1-and-2 in the count, before narrowly missing with a slider. He tried to come back with his trademark splitter. But Soto was all over it, crushing a two-run double that proved to be the decisive blow in New York’s 5-2 victory over the Dodgers.

“At the outset, I was pretty optimistic, getting a 2-0 lead,” manager Dave Roberts said. “And then there was that [fourth inning] where he sort of lost command, had two outs and the back-to-back walks. … And obviously the big hit from Soto with two outs. He just couldn’t kind of limit damage right there.”

In what likely will be a preview of what’s to come for the Dodgers (32-20) over a grueling portion of their schedule in the next month, the team’s fate Saturday was almost entirely reliant upon the performance of their starter.

On Friday night, their already overworked bullpen had been gassed again by their extra-inning gantlet. And though they won that game, and freshened up their pitching staff by calling up Bobby Miller on Saturday for some extra length, Roberts had his hands tied as Gonsolin started to lose command.

Juan Soto runs to first base after hitting a two-run double in the fourth inning Saturday against the Dodgers.

(Frank Franklin II / Associated Press)

Over his first three innings against the Mets (31-21), Gonsolin had been fine, giving up one run in a two-out rally in the second by skirting more danger in the third by dialing up an inning-ending double-play with runners on the corners.

The fourth was a different story.

Luis Torrens led with a single. Tyrone Taylor clobbered a fly ball that seemed like a no-doubter off the bat before dying in a stiff breeze at the left-field warning track. Then, Gonsolin became erratic, throwing eight consecutive balls to Brett Baty and Francisco Lindor to load the bases for the heart of the Mets’ order.

“Very upset with the walks,” Gonsolin said. “Don’t walk those guys, potentially that inning looks a lot different. Just need to attack guys.”

Maybe on a night the Dodgers’ bullpen was fresh, Roberts could have considered summoning a lefty to face Soto once Gonsolin began floundering. But after using seven of his eight relievers the previous night, he had no choice but to leave Gonsolin in as the four-time All-Star and five-time Silver Slugger came to the plate.

Five pitches later, Soto changed the game — sending Citi Field into euphoria with his go-ahead double that banged high off the wall in right center, the inning only ending when Marte was thrown out at home trying to score from first as the trail runner.

“Thought I executed a slider really well there,” Gonsolin said of a two-strike offering that Soto didn’t bite on. “He’s got a really good eye. Barely missed.

“Then yeah, the splitter, thought it was a solid one, just elevated it. And he didn’t miss it.”

Gonsolin did return to the mound and completed the fifth, saving at least one inning that otherwise would have fallen upon the Dodgers’ bullpen. Miller also contributed two innings at the end, giving up one run in the eighth and getting out of a bases-loaded jam.

But on the other side, Mets starter David Peterson had no trouble going deep, using sharp command with his sinker, seven strikeouts and three double plays to get through 7 ⅔ innings of two-run ball.

“There wasn’t much offensive energy tonight, as far as how we were swinging, the at-bats we were taking,” Roberts said. “So to try to chase and use leverage guys in a down game, it just didn’t make any sense for me.”

So goes things for the Dodgers right now; ever mindful of their MLB-leading bullpen workload, and needing better production from their starters than what Gonsolin provided.