Put away the holochess board, C-3PO is going to the 2027 Super Bowl!
An animated “Star Wars” version of Super Bowl LXI featuring characters from the galaxy far, far away will air live, simultaneously with the game, on Feb. 14 on Disney Channel and Disney XD, the NFL announced Monday along with partners ESPN, Lucasfilm and Disney. “Star Wars Funday Football” will also be available on Disney+ and the ESPN app.
Anthony Daniels, who has portrayed C-3PO since the original “Star Wars” trilogy, will voice the worry-prone protocol droid in the live alternate telecast. If the brief teaser video is any indication, C-3PO will be joined by his favorite astromech, R2-D2.
“Star Wars Funday Football” will feature live-animated avatars of all of the players on the field as they play the game. Viewers can expect “Star Wars” characters to sub in during special moments, as well as various Easter eggs to appear throughout the game.
The “Star Wars” themed telecast follows previous “Funday Football” installments that were themed to “Toy Story,” “The Simpsons,” and “Monsters, Inc.” This marks the first time that the Super Bowl is getting the “Funday Football” treatment.
The traditional telecast, featuring announcers Joe Buck and Troy Aikman with reporters Lisa Salters and Laura Rutledge, will be available on ESPN, ABC and Disney+.
Super Bowl LXI will be held at SoFi Stadium in Inglewood. Details for the halftime performance have not officially been announced, but Jay-Z is rumored to be the headliner.
Following “Star Wars Funday Football” and Super Bowl LXI, a newly restored version of “A New Hope” will return to theaters on Feb. 19. “Star Wars: Starfighter,” a new standalone film starring Ryan Gosling as Kade Auberon, is slated to hit theaters May 28.
Two things can be true: The Dodgers’ season ended prematurely and, for Shohei Ohtani, the offseason couldn’t come soon enough.
Thursday’s elimination — a no-doubt-about-it sweep at the hands of the Milwaukee Brewers, who vanquished the Dodgers in the same fashion Ohtani and Co. had summarily eliminated them last season — was apparently the only way to get the two-way superstar out of the lineup.
Now he can get some much-needed rest and recovery, a reality check and, possibly, some surgical procedures to repair the knee and biceps injuries that plagued him this season.
Ohtani didn’t rule anything out in his postgame scrum, several rows deep, in front of his locker after the Dodgers’ 6-4 defeat in Game 4 of the National League Championship Series.
“Hard to tell at this point,” the 32-year-old Ohtani said in Japanese, via interpreter Will Ireton. “It’s something that’s going to be analyzed, discussed over the offseason, and see if that’s a viable thing to do.”
Hopefully, for the Dodgers’ sake and for baseball’s, Ohtani and his team will see their way to a reasonable load management plan. Hopefully they’ll find a viable injury management strategy.
Especially if he continues to pitch, as Ohtani said he plans to: “Yes, definitely, and looking forward to having a better season.”
Hopefully this bumpy season — his first as a Dodger to end short of the championship following the 2024 and 2025 title runs — will make Ohtani better. Wiser. More willing to listen to his body and to communicate what it’s telling him with the ball club that relies on him so much.
“I’ll always trust Shohei,” Dodgers manager Dave Roberts said. “He’s the best player on the planet, and he’s not completely healthy. But I just give him a lot of respect for not running from it, still wanting to participate, still wanting to play when he’s not 100%.”
But hopefully when Ohtani’s knee barks next time, he won’t pitch through it. Hopefully when his right arm tightens up, he’ll step out of the box. Even — or especially — if it takes longer than a 15-day IL stint to make him right.
Hopefully he’s learned that irrespective of a sense of duty or pride or a selfish streak, the cold-hitting fact is that a compromised version of Ohtani leaves the Dodgers’ whole team — a $400 million investment — compromised, as it was this postseason.
“I don’t really want to take it for granted for the opportunity to be able to play with these guys,” Ohtani said. “But honestly, I think I’m just very disappointed.”
In eight playoff games against the Atlanta Braves and Brewers, Ohtani hit .192 (five for 26). He struck out 10 times. He didn’t get an extra-base hit or drive in a run until Thursday, in the season finale, which reminded us of Ohtani’s power — he walloped his first home run since Aug. 18, a three-run missile in the second inning that traveled 428 feet — and his pain.
Roberts looked, for a moment, like a genius for continuing to keep Ohtani in the lineup — and to pencil him in as the Dodgers’ leadoff hitter after batting him sixth on Wednesday.
For that one shining moment.
Shohei Ohtani celebrates after hitting a three-run home run in the second inning of the Dodgers’ 6-4 loss to the Milwaukee Brewers in Game 4 of the NLCS on Thursday night at Dodger Stadium.
(Gina Ferazzi / Los Angeles Times)
But Ohtani also struck out three times Thursday — made to look foolish in a much-too-familiar way.
The Dodgers needed a healthy Ohtani to deal with a young, hungry ballclub like the Brewers.
To have a chance against a team that was, as Dodgers utility man Kiké Hernández said, “almost playing perfect baseball,” they needed him dialed in and not tinkering, not staying late searching.
They need the version of him that delivered the perfect game a year ago, his three-home-run, 10-strikeout masterpiece that sent Milwaukee home in Game 4 of the NLCS.
“Ohtani is arguably the best player in the world,” Brewers manager Pat Murphy said.
“He’s proven that to us. He had the greatest game I’ve ever seen played by an individual player last year against us.”
The Dodgers need that guy striking fear into opponents. Not him striking out, or getting stranded helplessly on base.
Shohei Ohtani tosses his bat after hitting a three-run home run against the Milwaukee Brewers during the Dodgers’ 6-4 loss in Game 4 of the NLCS on Thursday at Dodger Stadium.
(Robert Gauthier / Los Angeles Times)
And they got a glimpse of that guy Thursday with that second-inning home run, a shot that had him throwing his arms up and screaming toward his dugout, as emotive as we’ve seen him, relieved and exulting after giving the Dodgers a 4-0 lead — and a fleeting expectation that they’d play a Game 5 on Friday.
“It was a lot of pent-up anger, frustration,” Roberts said. “It was the best ball he hit in probably two, three months, and it was a big hit.”
“It was like,” Max Muncy said, “that’s the swing we’ve been waiting for.”
Now we all wait for baseball to return — and then to learn what this season taught Ohtani, one of the most unique athletes in the history of the game.
“Not quite satisfied with how things shaped up on the pitching side at the end of the year,” Ohtani said. “… I haven’t been able to really come to grips in terms of what I’ve learned overall. It’s something that I’m going to kind of go back to the drawing board in terms of treatment, training program, and see what I can come up with for next season.”
Aaron Sorkin’s “The Social Reckoning,” a sequel to 2010’s David Fincher-directed “The Social Network,” is hitting theaters as part of a surge of tech geek takedowns that includes documentaries on Elon Musk and Theranos’ Elizabeth Holmes, as well as Luca Guadagnino’s upcoming comedy “Artificial” about OpenAI’s Sam Altman.
Still, its timing couldn’t be worse.
Cursory and hollow, it recounts the true story of Wall Street Journal reporter Jeff Horwitz (Jeremy Allen White) and Facebook whistleblower Frances Haugen (Mikey Madison), a disenchanted data engineer on the company’s civic integrity team, who paired up for a 17-part investigative series that provided proof of what people already sensed: Facebook boosted misinformation and rage-bait to juice user engagement at the cost of our country’s mental health.
The script ends shortly after Haugen testified before Congress in October 2021, noting that the carpet in her waiting room had recently been swapped out because of bloodstains from the Jan. 6 Capitol attack. The film rewinds to that day, too, and attempts to squeeze drama from slow-motion reenactments of the rioters, which Alexandre Desplat scores to an overbearing military dirge as Mark Zuckerberg (Jeremy Strong) and his good little Facebook soldiers mull over whether to take down the U.S. president’s incendiary posts.
Back in our own reality, Zuckerberg and the president just had lunch last week. At this point, we’re all so psychically drained that the only response we can muster to this vacant period piece is: So what?
Sorkin has my sympathies. The future moves faster than a film in development. And he fundamentally gets the peril we’ve put ourselves in by entrusting Zuckerberg, who is, at minimum, an ethically askew man. After all, Sorkin’s own screenplay for “The Social Network” remains a prescient masterpiece.
But the movie’s problems go beyond arriving simultaneously too slowly and too soon for Zuckerberg’s endgame, where his emptying social media empire has him gambling his fortunes (and ours) on AI. Expanding his scope from Harvard to the planet, Sorkin now aims to show that we’re all trapped in Zuckerberg’s insensitive mind view. Cold computer speak has infected everyone like a virus. When Madison’s Frances goes on a blind date, her online match says he appreciates that the internet makes it simpler for singles to pair up “within their own vector.” The buddy-buddy Winkelvoss twins’ version of the app might actually have been better for the world.
Meanwhile, Zuckerberg, who mostly stays on the sidelines of the movie, is now a mighty billionaire and, as Strong plays him, a dour, lifeless dork. Gone are the beer bashes, the thrill of invention and any hint that Zuckerberg lusted for something — women, attention, clout — other than a quarterly earnings report. This Zuckerberg is no longer made of flesh and blood but ones and zeros. Pity Strong couldn’t play the CEO after his bro-y 2024 mutation into MMA-fighting Marky Mark. At least that guy is amusingly ridiculous. Trapped in this stiffer, earlier incarnation, the only acting Strong is able to do is poke his head straight up from his shoulders until he resembles a retractable pen.
Worse, all the other characters in the film talk just like him: charmless, frigid and quick to cut each other off with snippy corrections. I could forgive that if it was just Facebook’s employees: Madison’s quavering, exasperated Frances, the co-worker (Anna Lambe) who insists she and Frances are merely colleagues, not friends, even after their company frittered away the meaning of the word, and a media relations executive (a smooth Billy Magnussen) who gets the scariest line, coolly insisting that “we’re post-government around here.” After all, these are the folks who saw “The Social Network” and still wanted to work for Zuckerberg.
But the opposition is steeped in that same monotone rudeness. Sorkin must have adored that earlier film’s opening scene where Rooney Mara insults a clueless Jesse Eisenberg because he’s written three-dozen takes on it. At Sorkin’s version of the Wall Street Journal, everyone up and down the masthead — editors, writers, even interns — insults each other with such relish that someone should be written up by HR. The fast-and-furious dialogue hits its nadir when Madison’s Frances slips Jeff important documents that he can’t even read because she nonsensically starts chattering about the looming coronavirus.
Here’s where you say that this is just how Sorkin writes characters. And here’s where I counter that a movie about how algorithms destroy humanity has to have some credible humans in it, if only to illustrate its own point.
Instead, Sorkin’s protagonist-bots come with bolted-on personality quirks. White’s journalist is a Luddite who would rather be late to his own job interview than use Google Maps. He comes across as so clueless that the audience can barely credit him for his reporting work winning an eventual Pulitzer — he’s just soulful eyes and a cellphone ringtone that tinkles old show tunes.
Madison, 15 years the junior of the real Frances, is too young to convince us that her character truly believes she can turn Facebook into a digital utopia. An ultra-online 20-something, she was a front row witness to Gamergate, yet somehow she’s shocked to overhear about middle-school girls getting bullied on Instagram. Her character wears legwarmers and knit wristlets to the office as protection against the air conditioning, which also serves to emphasize her company’s interpersonal chill.
Yet, bizarrely, the script makes Frances dress like a sex worker whenever she sneaks to Jeff’s hotel to slip him some corporate secrets. It’s a disguise, she explains, although the gag is so forced that it’s just as easy to believe the literal-minded girl is taking her Deep Throat identity too seriously. Or perhaps Sorkin just wanted to remind audiences that this awkward creature is the same actor who won the Oscar stripping off in “Anora.”
A few moments do work, like an opening showdown between a drunk blond (a nasty-great Portia Doubleday) and two cops that gets live-streamed to the web, and Zuckerberg’s congressional coaching sessions with his crisis team, played by Wunmi Mosaku and the comedian Bill Burr. From what we learn of Burr’s Charlie Garrigan, an insider who sold his Facebook stock too fast and then wrote a negative New York Times editorial against the company, he seems to be inspired by early co-founder Christopher Hughes, which would made him the only other callback character from “The Social Network.” But Sorkin has changed his name and upped his age, so as fun and ferocious as Burr is, we also spend his scenes feeling a little confused.
Do we learn anything new about Facebook itself? No. Still, I appreciated how dismissive Frances gets when asked to confirm small scandals that she finds too piddly to care about, like Jeff’s suspicion that Zuckerberg is goosing his posts so that positive comments outrank negative ones 32 to 1. That’s just obvious, her posture says. Facebook is over two decades old and he still hasn’t made many friends.
LIKE many, I have longed for a Rimowa suitcase, but the brand’s premium prices puts it out of my price range.
I simply can’t justify spending over £1000 on a suitcase, so I was understandably thrilled when I spotted the same luxe aesthetic for just £60 at Dunelm.
It has a nifty section for your laptop which the Rimowa does notCredit: Dunelm
Constellation Cabin Suitcase with Front Opening, £60 at Dunelm
The Constellation Silver Cabin Case caught my eye with its sleek silver finish and modern linear hard shell, which gives it a similar, minimalist look to the iconic Rimowa cases.
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Like Rimowa, it also has a durable construction with a hard shell protecting the contents, while looking stylish in the Arrivals hall.
It also comes with a 360-degree spinner wheel system, meaning you can glide it along in pretty much any direction.
But there’s one particular feature that makes it extra appealing to modern travellers like me.
Dunelm’s dupe is spacious enough to fit up to a week’s worth of clothesCredit: Dunelm
The front-opening opening offers speedy access to your tech essentials, so you don’t have to disturb your perfectly packed suitcase as you’re going through security.
As someone who travels with a laptop, I think that’s actually more useful than simply having a suitcase that looks pretty.
In terms of size, the Constellation Cabin Suitcase measures 55 x 35 x 22cm, including its overall product dimensions, while the Rimowa Original Cabin is 55 x 40 x 23cm.
While they’re the same height, Dunelm’s case is 5cm narrower and 1cm shallower, making it the more compact option.
You’re getting the sleek minimal aesthetic, hard shell construction, 360-degree wheels and a clever tech compartment for £60 rather than £1,090, pocketing £1030 in savings.
With half-term around the corner, this is the sort of cabin case I’d be looking at for a short family break or a European mini break.
Will it meet airline luggage rules?
Before buying, check your airline’s free cabin-bag allowance.
The Dunelm case fits Jet2 and British Airways’ larger 56 x 45 x 25cm allowance, but it won’t be free on every airline or fit under the seat in front.
If you’re looking for underseat bags that nail the designer look, I’ve rounded up some alternatives below.
A compact option for short trips.Credit: CabinMax
CabinMax Underseat Cabin Suitcase, £39.95 at ASOS
What’s it good for? Weekend getaways, short city breaks, or business trips where you don’t need multiple outfits or heavy layers.
What you’ll like? It has wide suitcase-style opening, so you don’t have to dig through from the top like a regular backpack.
The Mykonos Hard Shell Vanity Case is perfect for make up loversCredit: M&S
The Mykonos Hard Shell Vanity Case, £30 at M&S
What’s it good for? Carrying delicate toiletries without worrying about leaks or crushed packaging.
It could also work as a sleek standalone bag for overnight trips if you travel light.
What you’ll like? It has an elasticated rear trolley strap that slips over telescoping suitcase handles for effortless, one-handed wheeling.
Now, these suitcases aren’t Rimowa, so you won’t get the same premium branding, construction or engineering.
But if, like me, you’re mainly after the chic silver aesthetic and some of the practical features seen in expensive luggage, they’re a tempting alternative.
If you’ve had a Rimowa suitcase on your wishlist but can’t swallow the £1,090 price tag, my Dunelm find could be the more purse-friendly alternative.
