word

Jared Grindlinger, considered one of the top high school baseball prospects from the class of 2027, is reclassifying and will graduate as part of this year’s class, making him eligible for the 2026 amateur draft, Huntington Beach coach Benji Medure confirmed on Thursday.

Grindlinger is a left-handed 16-year-old pitcher who throws 93 to 95 mph. His brother, Trent, is a freshman at Tennessee, so that option of joining his brother at the end of this season is also possible. He’s uncommitted, but his decision to graduate this spring will add another top pitching talent for pro scouts to evaluate.

Medure said he was already receiving numerous calls on Thursday after word became known, and increased scrutiny is something with which Grindlinger will have to deal.

“He understands the pressure about what’s about to happen,” Medure said.

Grindlinger made his season debut on Wednesday against Loyola, striking out four and giving up five hits and three runs in three innings.

Grindlinger began the process in the fall of perhaps graduating early taking online classes.

After blowing a two-goal lead to draw against the Premier League’s bottom club Wolves, there will be no dodging the questions on whether Arsenal are mentally ready to end their 22-year wait to become champions.

For the first time really this season, the title race is not completely in the control of Mikel Arteta and his players.

If Manchester City – five points behind in second place – win all of their remaining 12 games, which includes a home meeting against Arsenal, they will finish first.

The same, though, can be said for the Gunners, who have 11 matches left – and they win the April encounter at Etihad Stadium.

But after dropping four crucial points in successive draws against Brentford and Wolves, they are in danger of being haunted by the ghost of past failures.

Three successive runners-up finishes, two of them to Pep Guardiola’s men, provide a constant reminder.

Former Arsenal forward Alan Smith admitted “that word bottle will be used quite a bit in the next few days”.

The scenario seemed a lot different when Piero Hincapie slotted home his first goal for the club in the 56th minute, adding to Bukayo Saka’s fifth-minute opener.

But the Gunners lacked the control and ruthlessness to finish off a Wolves side that had lost their nine previous meetings and are heading for the Championship.

The hosts showed remarkable spirit to fight back with Hugo Bueno’s 20-yard curler giving them hope. Then, in the fourth minute of added time, 19-year-old Tom Edozie – off the bench for his senior debut – pounced on a mix-up between Arsenal pair David Raya and Gabriel and his shot went in off Riccardo Calafiori for a dramatic, dreamy leveller.

Arsenal next face London derbies with Tottenham and Chelsea and they have worryingly started to wobble at a decisive stage in the season.

Arteta knows his side will come under fire and scrutiny.

“Any opinion you have to take it on the chin,” he said. “Any bullet, take it, because we didn’t perform at the level required.

“Anything anyone says can be right because we didn’t do what we had to do. The way to do it is on the pitch on Sunday [against Spurs].”

Wolves boss Rob Edwards said his side “knew there is a massive pressure” on Arsenal at the minute – and they capitalised on that.

The Gunners have not been performing at their best since the start of 2026 and won only two of their last seven league matches, with victories against Leeds and Sunderland.

Arteta added: “Certain basics we have to do, we did them so poorly, one after the other.

“It is better not to judge it. We are all too emotional about it. You have to take the hit because we deserve it. It is very easy with emotion to say things that can damage the team. Everyone wants to do their best.”

Only Crystal Palace and West Ham (both eight) have dropped more points from winning positions in the league in 2026 than Arsenal (seven) and the Gunners have now failed to win from a leading position in three of their last five league games.

This was also the first time in Premier League history that a side starting the day bottom of the table avoided defeat to the leaders, despite trailing by two or more goals.

“It feels like a pivotal moment, a vital one, maybe a turning point,” Smith added on Sky Sports.

“It’s in Manchester City‘s hands now. With their experience and Guardiola’s experience they will really fancy it now. They can almost feel the nerves of the Arsenal team watching that.

“Having been 2-0 up against the team rock bottom on nine points is just not good enough for the team hoping to win the title. It doesn’t bode well for Arsenal to be able to handle the pressure.”

Support for James Van Der Beek’s family continues to pour in. The GoFundMe created to support them following the “Dawson’s Creek” star’s death approached $2.3 million in donations Friday morning.

Steven Spielberg and his wife Kate Capshaw are among the celebrity donors who have contributed to the fundraiser organized by the late actor’s friends. The couple’s donation is listed as $25,000. Those familiar with Van Der Beek’s breakout role on the millennial teen drama know that Spielberg is Dawson Leery’s favorite director.

Originally airing from 1998 to 2003, “Dawson’s Creek” was a seminal teen drama that followed four friends growing up in a small coastal town as they navigated their dreams, relationships and various coming-of-age milestones. Van Der Beek’s Dawson was an aspiring filmmaker whose dreams were bigger than his small hometown. Along with friends Joey (Katie Holmes), Pacey (Joshua Jackson) and Jen (Michelle Williams), Dawson grappled with very relatable teen dilemmas including heartbreak, betrayal and bad decisions.

The fundraiser, which had more than 44,000 donors as of Friday morning, was organized to help support Van Der Beek’s wife and children, who “are facing an uncertain future” due to the financial strain of the late actor’s medical costs. The late actor died following a battle with colorectal cancer. Funds will be used to “help cover essential living expenses, pay bills, and support the children’s education,” the organizers wrote.

Van Der Beek revealed in 2012 that he had been paid “almost nothing” for his work on “Dawson’s Creek” and had not received any residuals from the hit show.

“There was no residual money,” he told “Today.” “I was 20. It was a bad contract. I saw almost nothing from that.”

Before his death, Van Der Beek auctioned off personal memorabilia and sold collectibles to help pay for his cancer treatments. In September, his “Dawson’s Creek” co-stars helped organize and stage a reunion fundraiser to support Van Der Beek and his family — a reunion the actor had to miss because of a virus. “Black Bird” actor Paul Walter Hauser had also been raising funds through Cameo videos and auctions to help the late actor prior to his death.

Besides Spielberg, celebrity donors to Van Der Beek’s GoFundMe also reportedly include Zoe Saldaña, Jon M. Chu, Derek Hough, Busy Philipps, Jenna Dewan and others.

Van Der Beek’s “Dawson’s Creek” colleagues have also been among the many who have shared tributes to the late actor.

“Several times today, from my heart, I’ve tried to form the words to express the beautiful brilliance of James and what his presence has meant to my life,” “Dawson’s” creator Kevin Williamson wrote Thursday in a post shared on Instagram. “But I am truly at a loss for words. I will have to trust that one day those words will come… But today, all I can think about is Kimberly and the entire Van Der Beek family.”

Holmes, meanwhile, shared a handwritten note addressed to Van Der Beek on Instagram Wednesday. She was the first of “Dawson’s Creek’s” surviving core quartet to publicly acknowledge Van Der Beek’s death.

“Thank you,” Holmes wrote in her note, which was addressed to Van Der Beek. “To share a space with your imagination is sacred — breathing the same air in the land of make believe and trusting that each others’ hearts are safe in their expression.”

In her remembrance, Holmes highlighted their shared “laughter, conversations about life, James Taylor songs” and their “adventures of a unique youth.” She also highlighted Van Der Beek’s “Bravery. Compassion. Selflessness [and] Strength.”

“I mourn this loss with a heart holding the reality of his absence and deep gratitude for his imprint on it,” wrote Holmes, who also sent love to Van Der Beek’s wife and children in her message.

Other members of the extended “Dawson’s Creek” family, including actors Chad Michael Murray, Kerr Smith and Sasha Alexander, have also been among those offering condolences and paying tribute to Van Der Beek and his family online.

“James Van Der Beek was one in a billion and he will be forever missed and i don’t know what else to say,” wrote Busy Philipps in her Instagram tribute. “He was my friend and i loved him and i’m so grateful for our friendship all these years.”

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

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

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

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

READ MORE: Canary Islands’ ‘hidden gem’ has unspoiled beaches, £2 beer and 21C March weatherREAD MORE: Beautiful UK market town has £160k homes, cosy pubs and Harry Potter links

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Book it

Resorts World hotels has three hotels in Las Vegas:

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

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

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

Six months and 16 Oscar nominations ago, Delroy Lindo hopped on a Zoom call with the awards consultants running the campaign for Ryan Coogler’s genre-defying American horror story, “Sinners.” Actors don’t often participate in these meetings. But Lindo had received so much love for his turn as bluesman Delta Slim since “Sinners” premiered in April, he figured, “Why not sit in?” Mostly, he just wanted to ask one simple question: How can we make the most of this moment?

“I don’t know what their answer was, but it seems to have worked,” I tell him over lunch recently.

Lindo starts rapping on the wood table separating us and doesn’t stop until I ask if he’s a man given to superstition.

“Can I tell you where I think it comes from?” he asks. “I’m acutely aware absolutely nothing is promised. There’s no such thing as a sure thing. Anything can happen. So in knocking wood, one is trying to increase one’s chances that the outcome will be what one wants.”

So you’ve been knocking on wood for the last six months?

“Hell, yes!” Lindo answers, laughing. “Hell, yes!”

Now I’m the one who’s laughing, which Lindo appreciates. But he has more to say on the subject.

“You have to understand something,” he continues. “When an actor does a piece of work and it really touches people and has an impact like it did with Delta Slim and ‘Sinners,’ you can’t help but think how it might be broadened. I try to maintain an emotional distance because I have no control over much of it. Awards season.” He shakes his head. “So …” Lindo pounds on the table again. “Knock … on … wood.”

You want an illustration of the unpredictable nature of the acting profession? Lindo and I wouldn’t be at this table talking and rapping and toasting the first Oscar nomination of his long career if one particular cut of “Sinners,” the version Coogler showed him at the Imax headquarters in Playa Vista more than a year ago, had gone out into the world.

Lindo, left, on the set of “Sinners” with co-star Michael B. Jordan and writer-director Ryan Coogler.

(Eli Ade / Warner Bros. Pictures)

If you’ve seen the film, you’ll no doubt remember Delta Slim delivering a monologue in the car riding to the juke joint with Stack (Michael B. Jordan) and Preacher Boy (Miles Caton) where he recalls the lynching of a fellow musician. The scene ends with Lindo breaking into a guttural humming and drumming, expressing pain that transcends words.

When Lindo saw the movie that first time, the monologue had been truncated, and the scene preceding it, where their car passes a chain gang and Delta Slim stands and exhorts the prisoners to “hold your heads,” was gone too.

After the credits finished rolling and the lights came up, Coogler asked Lindo what he thought of the film. Lindo looked at him. “Can we talk, man?” They went outside, and Lindo laid out in his steady, resonant baritone why he thought Coogler needed to reinstate the chain-gang scene, which reveals Delta Slim’s origin story — and surely, since the chain-gang scene is intertwined with the monologue in the car, that should go back into the movie too.

“What Ryan did so brilliantly is he took the time to introduce all of the main characters in their native environments so the audience gets invested in them and what they mean to the community,” Lindo says. “For Delta Slim, those scenes were the fundamental building blocks.”

It should be noted that there were many different cuts of “Sinners”: one as short as 90 minutes, one that opened with the vampire Remmick being chased by the Choctaw, one without the celebrated surreal musical sequence that became the centerpiece of the film.

“The Delta Slim monologue had a lot of ‘Is it in, is it out?’ debate,” “Sinners” film editor Michael P. Shawver says. “But I knew in my heart and soul I was never going let the movie out without that being in it.”

Coogler, it turns out, saw it that way too.

Delroy Lindo.

(Bexx Francois / For The Times)

“I couldn’t imagine making a movie about the blues without giving some deeper context on what that music really signifies,” Coogler writes in an email. “It’s easy to get lost in the rhythm and the artistry of it all, but the blues was born from a lot of pain and adversity in a particular time and place. When I wrote the script, I felt like I needed a living, breathing embodiment of that, and Delroy nailed it.”

“We could have filmed that monologue a thousand different times and it would have taken on new life with each take,” Coogler continues. “The gut-punch way he ends it, going from telling the story of a lynching to drumming along and humming … it’s macabre, sorrowful and beautiful all at the same time. It shows you exactly why Delroy’s such a masterful actor. If you ever needed to give someone the world’s fastest lesson in what the blues is about, he gives it to you right there.”

“God bless him,” Lindo says.

“Working for the camera, we’re at the mercy of the editing process,” Lindo notes. He speaks slowly, deliberately, always choosing his words carefully because language is important to him. It’s his currency.

How does he feel about that loss of control?

“It’s scary,” Lindo says. “One had better make one’s peace with that very quickly. If you don’t, you will get your feelings hurt. It’ll be a problem.”

Asked to pinpoint when he came to terms with that, Lindo remembers “Clockers,” the 1995 Spike Lee crime drama in which he played the intimidating drug kingpin Rodney Little. It was his third collaboration with Lee, following “Malcolm X” and “Crooklyn,” and the two enjoyed a mutual respect and rapport. But Lee still cut three of Lindo’s scenes, which Lindo understood — “kind of, sort of.” Lee was looking at the larger story. Those scenes weren’t essential.

“Making one’s peace with it is not the same as accepting it and being happy with it,” Lindo says, raising an index finger, a gesture he often makes when telling you something he considers important. “It’s just the way it is. It’s a fact of life.”

When talking about his career, Lindo, 73, tells me more than once that “it’s not where you start, it’s where you finish.”

The first time he tells me this we are talking about one of his early lead acting turns, starring in the 1983 Yale Repertory Theatre production of “A Raisin in the Sun,” the story of a struggling Black family dealing with discrimination in 1950s South Chicago. Lindo played the frustrated patriarch, Walter Lee, and won some strong reviews. But he felt like he was the “weak link” in the production. In a GQ profile, it was written that Lindo, born in London, couldn’t convince himself that the African American experience was his to interpret.

“Nope,” Lindo says. “I did not say that.” Again, the index finger. “You’re giving me the opportunity to set the record straight.” He pauses and closes his eyes. “Doing that play, I had an inner monologue playing in my head that cast doubt on my ability to play the part successfully. And it continued and it grew. It became a tape and then an album and then a series of albums. It eroded my confidence.”

“You know what it was?” he continues. “It was a self-esteem issue. It was an issue of me saying to myself, ‘You’re not good enough. You want to do one of the great parts in the theater? No. You don’t have it.’ Now, what’s the root of all that?” Lindo laughs, clasps his hands together and raises them. “The roots of that are food for myself and a therapist.”

But there is a happy ending to the story. Lindo was cast once more as Walter Lee, for a production of “A Raisin in the Sun” mounted at the Kennedy Center in 1986. Lloyd Richards again was directing, indicating to Lindo that maybe he wasn’t as bad as he thought he had been. Richards did tell Lindo that he needed to jettison some of the neurotic choices he was making as an actor.

“Those are the words he used, ‘neurotic choices,’” Lindo says, shaking his head. He pauses. “Man, I’m giving you a lot here. But it’s OK. You know why it’s OK?”

Because you’re enjoying our conversation? I venture.

Delroy Lindo.

(Bexx Francois / For The Times)

“No,” Lindo says. “I’m not particularly enjoying telling you about my failures. But this was an absolute period of growth for me as an actor all because I learned the most important thing: preparation, preparation, preparation.”

For his reprise of “A Raisin in the Sun,” Lindo called musical multihyphenate Oscar Brown Jr. and asked if he could fly to Chicago and pick his brain about life on the city’s South Side in the 1950s. Lindo walked the streets where “Raisin” playwright Lorraine Hansberry lived, steeping himself in what it meant to exist in that place and time. After that, the tape was no longer playing in his head, even when co-star Esther Rolle’s face fell after she realized that Lindo had been cast as Walter Lee. She thought she’d be headlining with Glynn Turman, but Turman had dropped out.

“Eight days, maybe nine into rehearsals, Esther turned to me — and this is when I knew it was going to be all right — and she said, ‘You’re a nice actor,’” Lindo remembers, smiling.

Preparation, preparation, preparation. For Delta Slim, Lindo read books on the blues, listened to Son House, Muddy Waters and Howlin’ Wolf and immersed himself in the culture of the Mississippi Delta. When it came time to shoot that monologue in the car, he was ready. On the next-to-last take, Lindo improvised, letting music take the place of words. Jordan went with it, turning to Caton in character, saying, “You got that guitar in your hand, don’t you, boy?” Caton begins playing.

“Man, we were all in the work,” Lindo says.

Where did that improvisation come from? I ask.

“It’s the musical manifestation of the pain I’m feeling,” Lindo says. “It’s the only thing I know how to do in that moment.”

It’s the blues.

“It’s the blues, man,” Lindo says. “I’ve heard it said numerous times: That’s where the blues comes from. And as an actor who participated in that moment, communicating that is extraordinary and profoundly gratifying.”

(Bexx Francois / For The Times)