World

OpenAI boss Sam Altman thinks people should have more faith in his company and others like it to do the right thing when it comes to artificial intelligence (AI) development amid rising public concerns about all the risks.

“The world should trust that we are going to do the right thing because it’s the right thing and we feel the magnitude of this,” Altman said on Tuesday during a conference in San Francisco.

However, Altman noted that people were justified in their fears around AI, as the capability of the tools has progressed rapidly.

“It doesn’t take as much imagination as it used to for [us] to imagine how this could go wrong,” he said. “I think the world is right to be afraid of this.”

Altman’s comments came during an appearance at an annual conference hosted by software firm Salesforce.

It was the first time he had spoken publicly since a post went viral last week by a researcher who quit the AI firm Anthropic. The researcher claimed AI could kill all humans by the end of the decade if left unchecked.

A handful of other AI executives and experts responded by saying they agreed with the assessment, though they didn’t explain how they came to their conclusions or how exactly AI could accomplish such a thing.

The fervor over the claims has led to more scrutiny of AI development in recent days, and in response, Anthropic chief executive Dario Amodei called for the pace of all AI development to slow, external and urged governments to regulate the industry.

The post was applauded by Altman, as well as co-founder of Google’s DeepMind Demis Hassabis, and Elon Musk, owner of social media site X and AI assistant Grok.

By Tuesday, more AI leaders were voicing support for self-regulation rather than government involvement.

Altman said that he felt AI companies like his own were capable of essentially regulating themselves.

“We will get it right, I’m very confident in our company’s and industry’s ability to do this safely,” Altman said, adding that he was sure that they would “keep alignment and safety way ahead of capabilities” and if they couldn’t, they would “slow down or stop”.

After Altman’s comments, Meta boss Mark Zuckerberg wrote on X that every AI lab has the ability and the incentive “to take its own actions” towards making AI tools and models that are designed for safety.

“Any lab that doesn’t focus on alignment will fall behind,” Zuckerberg wrote. “Labs face significant liability if their models cause harm, so they have a strong incentive to prevent this as well.”

Jensen Huang, head of Nvidia, also said at the same Tuesday conference that the AI firms should decide if new versions of the technology should be released and not be managed by outside forces.

“We don’t need new laws or regulations,” Huang said, adding that there should not be a “false choice” between the speed of innovation and the safety of AI products.

Nvidia is the biggest company in the world by valuation, with its profits having boomed as a result of rampant demand for the AI computing chips it makes.

“Safety is paramount. However, safety is an engineering problem,” Huang said.

He added that if at any time a leader of an AI company lacks confidence in their product they should choose to not release it.

“That’s a very obvious thing to do,” Huang said. “Run as fast as you can, but if at any time you feel the institution is not in control, take a pause.”

Some industry figures have argued resurgent AI fears were overblown and were being jumped on to generate hype for the industry.

During the conference, Altman addressed a crowd of hundreds of business people, telling them they should use AI tools to aid in their work, but also needed them in order to protect their businesses from potentially AI-enabled cyber attacks.

The idea of AI executives being left to entirely regulate themselves has struck some in the industry as a bad idea.

Jack Clark, an Anthropic executive and co-founder, told the BBC on Monday that leaving AI to be a “totally unregulated industry” was “rolling dice with immense risks”.

Patrick Hillman, the chief operating officer of Logical Intelligence, which is chaired by Yann LeCun, a sage of the AI industry, noted Tuesday how little faith people have in tech companies to do anything truly in the public interest, external.

“The only institution that Americans might trust less than Washington these days is Silicon Valley. I have worked and lived in both and I assure you both have earned this scepticism,” Hillman said.

“If you believe what you are building is dangerous, show us what you are prepared to stop doing,” he added.

In an abandoned warehouse in Barcelona, the diva concealed her face beneath a helmet. Her hair moved like a black waterfall as she strutted, bare feet arched, as if in heels. The heels do appear later, click-clacking as the camera reveals a screen on her pelvic region, and as she reveals her face, growling a provocative verse from “Taconeando” — “Yo sé que tu quieres que me venga.”

Throughout the course of her July 27 “XXXXX” livestream, which beamed her first album in five years to the world, the artist-producer Alejandra Ghersi Rodríguez, best known as Arca, bathed in the warm hue of red light and strobes — and later, what seemed to be blood.

She blew kisses to the camera and toward the sky. She let out vocoded screams as she writhed on an industrial floor and lay resplendently upon a mountain of sand. She covered her bikini-clad body in peonies, visually echoing an Ana Mendieta “Silhueta.”

It would be too simplistic to label “XXXXX” as a return to form for the expansive Venezuelan artist; this record is more than a pop-timized syncretization of her previous electronic experimentations, such as her 2013 debut EP “&&&&&,” or the hourlong single “@@@@@.”

Lest we forget her celebrated self-titled album in 2017, which was the first time we heard Arca’s voice untreated to the doleful melody of a tonada, the Venezuelan folk genre popularized by llanero troubadour Simón Díaz; or the wildly ambitious five-album “Kick” cycle, in which she indulged in the Caribbean sounds of dembow and reggaeton, then melded them together into one ambient stream, with her signature glitchy flair.

The album cover of “XXXXX,” which calls to mind one of Swiss artist’s H.R. Giger’s biomechanoid machine-human chimeras, nods to the much-ness inherent here: specifically the post-humanist conceit of “diva as technology” that lies at the bloody, beating heart of this record.

What best captures her ambitions on “XXXXX” is the aptly named song “Everything,” which centers a soft-hard sequence of percussion that threatens to consume you — and if it does, you let it.

When every color of paint is mixed together, a dark color emerges. When every sound is blended together, what does it become? An orchestral flourish slowed to a whisper as in “Finisher?” An explosion, like in the fast-rattling crackle of “Syncope?” Or a hand on your hookup’s throat, telling them they know exactly what you want from the interaction as in “Fxck?”

The alchemy on “XXXXX” doesn’t always go down smoothly. Arca’s never been an artist to be easily swallowed and thrown back into the ouroboros of the pop machine; if she’s always been the sand in the cog, what happens when the underground diva herself surfaces to mainstream superstardom? These are problems to ponder in the shadows of a club.

The diva as a concept is already rooted in transformation. A beautiful, powerful woman flaunts her voice dramatically onstage, reaching new heights and incarnating — to paraphrase Wayne Koestenbaum’s observations on operatic divas, like Maria Callas in his seminal text “The Queen’s Throat” — an airy sense of freedom.

Arca — a nonbinary trans woman who makes uncategorizable music and embodies unquestionable glamour — anchors her divahood in a mutation of body, soul and sound. It’s a concept she has been playing with since her second album, “Mutant,” which also gave her fanbase a name.

Still, attempting to situate her in any tradition is moot.

Her divahood exists in the context of Venezuelan underground electronic music, where Arca was the youngest of a generation of DJs and producers. This includes the raptor house don DJ Babatr; hard fusion father DJ Yirvin; Luis Garban (who plays as Cardopusher and Safety Trance); MPeach; and Phran.

It was two years ago that Arca brought all of them together in Caracas; it was then that the glitchy young experimentalist, now the most famous contemporary Venezuelan musician, became the gravitational center of a scene as fractured as the country it was born from.

Arca is now the kind of artist who could be seen walking runways in Berlin, or seated front row at the Saint Laurent show at Paris Fashion Week. Last month in Iceland, Arca served as the high priestess of Echolalia: an eclipse rave helmed by longtime collaborator Björk and a coterie of local acts.

Arriving in a summer defined by pop divas switching gears — Charli XCX turning to rock music (in a sense), Madonna leaning hard into nostalgia after a career of refusing to repeat herself, and the ever-smiley Karol G surrendering to her saudade — Arca’s “XXXXX” is similarly an invitation to transmute.

But if we can locate Arca’s divahood in a lineage, it might be in the modern tradition of the anonymous and enigmatic doll at the rave: ready to let her ego dissolve into the bass.

You listen to the quiet internal world Arca conjures on “Raver,” with its jangling and haunted electronic keys. You can see her clearly there: lost under the strobes, eyes turned up toward heaven, letting herself sway, sweaty, between moments of euphoria, completely in her body. Has anyone ever been more enraptured and glorious? Every raver has, in a sense, wandered gladly to oblivion with “eyes closed and heart open,” as Arca says on “Cinch.”

We may get drugged up to forget it all; or we go sober with earplugs and water and good sneakers and coffee, or cold yerba mate toward the music. Yet all of us seek to get lost in the sound, to cinch our waists and let the bass move through us — to have the transcendental experience of “[letting] the beat f— you,” as Australian scholar McKenzie Wark describes halfway through her essential book, “Raving.”

The aesthetics of ravers reaching the mainstream — and into the hands of normies through the rise of so-called “corporate raves” — has allowed for the creation of depictions that exist outside of the real, silent moments of transcendence. It’s the communion, after so much ceremonial dance, with the divine.

For all the modernity of its rave philosophy and sci-fi metallic soul, “XXXXX” has a connection to an ancient divinity — to older technologies, from ritual to radio.

Near the beginning of “XXXXX,” the song “Willow” ushers us into this new world, with a clanging that evokes the sound of church bells in space. After a minute of this, the crash of hi-hat punctures the silence. Arca’s pitched-up vocals seep through, matching the beat in a disjointed chant: “Willow tree blowing in the wind, let it fall.” The song continues flourishing with the deconstructed trap beat and dark synthesizers that call to mind the classic sounds of witch house. It’s the opening of the ceremony, the energetic cleansing of the space.

The album’s loose framework as a transmission from an intergalactic underground radio station, “Diva Experimental FM,” is a structure she’s been playing with for years in the form of a show streamed on NTS. She launched this new era with another mix for the show called “Airdoll,” a storm of baile funk with currents of ambient music, R&B and Gregorian chants. These various sonic streams fuel the mechanical but witchy futurist soul of “XXXXX.”

In their multi-genre 2025 book “Dysphoria Mundi,” Spanish trans philosopher and activist Paul B. Preciado points to gender dysphoria as a symptom of the world’s broken state and the utopia that could well rise from the ashes. The constant procession of natural disasters — and the indifferent leaders and the violent bloodthirsty systems they work under — push society to mutate into something better. As with Arca the artist, “XXXXX” is a curse-breaker, a cultural palate cleanser and a call to evolve.

YES, we know it’s still T-shirt weather in much of England for at least five hours of the day in between downpours, but it’s time to start thinking about booking your Christmas days out.

One for the calendars is an immersive festive experience that transports families through a snowy North Pole, that’s returning for the second year in a row – and it has a new village and playground.

The Wundrful World of Christmas will return this November taking families on a journey through the snowy landscape to see Santa.

It’s specifically designed for children between the ages of three and eight, who will venture through the frosty landscape in a 50-minute experience.

The journey through the North Pole will begin in the Enchanted Forest towards the Elves’ Workshops.

Little ones can say hello to the elves who will be busy making presents and working at the toy sorting station.

TOP MARKS

Cheap all inclusive hotels with brilliant Tripadvisor ratings – from £299pp

TOP STAYS

Best-rated UK hotels as voted for by guests – with rooms from just £31 a night

Then onto visit Mrs Claus in her cosy cottage where she’ll have plenty of biscuits to go around and tell a story or two.

Then it’s into Santa’s Study to do some letter writing and meet him in person.

Along the way there will be live performers, theatrical sets, storytelling animation screens and plenty of festive lights.

New for this year is the Elves’ Playground which will be fully kitted out with Christmas lights and trees.

It will also have fairground rides, food and drink and even a Christmas market for trinkets and gifts.

For anyone who visited last year at its Borough Yards venue, the experience has moved to Immerse LDN at Excel London.

Last year, one visitor said: “Lovely doing this experience with you guys!”

Another added: “We loved it too. Ours [kids] chewed the ear off Santa and he was brilliantly patient with the epic chinwag session.”

It will run from November 13 until December 24 and you can buy tickets here.

Tickets for adults start from £29.90 and £24.90 for children (1-15 years).

KHARTOUM: The World Food Programme’s funding for Sudan — the world’s largest hunger crisis — has fallen by about ​half this year, its acting head told Reuters, as war drives more people into hunger while the regional crisis raises prices and aid budgets plummet. 

Speaking from the Darfur region after a trip across the country, acting Executive Director Carl Skau said that while access had represented humanitarians’ largest obstacle in the past, now “we have (a) presence that we are not fully utilising because of the lack of funding.” 

The gap to sustain current operations was just short of $300 million, he said. 

This year, we’re about half what we were in terms of funding last year, says Carl Skau, Acting executive director of The World Food Programme

“This year, we’re about half what we were in terms of funding last year,” Skau said. Last year, the agency received $645 million, but almost three-quarters into this year funding is only ‌at $206 million. 

The war ‌between Sudan’s army and the paramilitary Rapid Support Forces has devastated ​wide ‌swathes ⁠of the ​country, displacing ⁠up to 14 million people, ruining harvests and decimating the economy. 

Almost 20 million people face hunger in Sudan, but budget cuts have forced the agency to focus efforts on the 5 million most in need, of whom it has recently scaled up to reach 4 million people. 

Even then, the organization, the UN’s largest by budget, is forced to make difficult decisions. 

In Tawila, North Darfur, the makeshift home to about 1 million people, the agency is able to reach everyone monthly but with only a half ration that covers two weeks’ food, Skau said. 

“It’s not ⁠clear how they really are surviving the other two weeks,” he said. 

In El-Obeid, the central Sudanese city where about 1 million and counting ‌have sought refuge since the start of the war in April ​2023, the agency is only able to provide help ‌to those who arrived in the past several months. 

“We are providing, but less and less. A year ‌ago it was better because of resources,” Skau said. 

agency recently began providing aid in the city of Al-Fashir, once home to 1 million people, where an RSF attack last year, “bore the hallmarks of genocide,” according to investigators. Skau said, “there is little sign of life having returned.”

His organization is not the only one struggling as major donors reduce aid. The ‌International Organization for Migration said on Monday that emergency relief supplies for hundreds of thousands of people displaced by the war could run out within weeks ⁠unless donors step in ⁠with urgent funding. 

The UN agency said supplies of shelter materials, sanitation items and emergency household goods are expected to run out by the end of September. The aid system itself can only keep functioning until December without more money. 

Aid groups like IOM are struggling with funding shortfalls after the Trump administration — the US was previously the world’s biggest aid donor — cut billions of dollars in foreign assistanceto UN agencies and charities over the past year. Other major donor countries have also cut aid budgets, citing tight finances and higher defense spending. 

“We simply can’t turn our back on the people of Sudan,” IOM Director General Amy Pope said in a statement, adding: “The entire humanitarian system could collapse within weeks if we don’t act now.” 

IOM says 8.6 million people remain displaced within Sudan, while another 4.9 million have returned to their homes. The agency says it ​needs $15 million to keep the aid pipeline running ​for the rest of the year, supporting about 305,000 people. Without it, more than 100 humanitarian organizations would struggle to quickly deliver lifesaving aid. 

At age 14, Glen Walsh started surfing because of a crush. He was a boogie boarder until the object of his adoration told him, “What are you riding that for? You should be surfing. Get a surfboard.” So, he did. “I was terrible at it, but I kept going. I was super persistent.”

That resilience proved useful. As a gay teenager in Santa Monica, Walsh was often called slurs on the Venice Pier. “You think you’re like a unicorn — a weirdo,” he says. He felt at odds with the local surf community. To Walsh, surfing was “super straight, very hypermasculine, very intimidating.” Yet his love of the ocean — and sure, crush-worthy surfers — kept him returning to the water. “I wanted to be around them, and surf with them,” he says.

When Instagram launched in 2010, Walsh began posting one of his early loves — only this time, it was morning surf conditions. Every morning, before surfers paddled out, the longtime Venice resident described swells, winds and surf conditions to his followers, becoming for some the town’s trusted surf chronicler.

A “Surf Swim” sign greets beachgoers at Venice Beach — a stretch of coast where daily surf reports and grassroots organizing have helped break down traditional surf stereotypes.

(Christina House / Los Angeles Times)

His videos combined informative dispatches with the laid-back vibe of surfer ASMR. “Light offshore wind. Clean, glassy barrels,” he declares softly to the camera as gray waves break behind him. “Lumpy close-out with hollow barrels with low tide, fam.”

At first, the account functioned like a group chat for local surfers. “Friends were asking me how the waves were, and I was texting them. I figured I’d jump on Instagram and start doing it for them,” says Walsh, who has been a Venice resident for 15 years.

What began as a practical update for a handful of friends eventually attracted followers in London, Berlin and Tokyo — people who checked in daily to see whether the surf was firing in Venice Beach. The account has amassed over 10,000 followers, inspiring imitator accounts. “Now it’s just for everybody,” says Walsh. “I built a community around the surf reports. It really blew me away. I didn’t realize that people were so interested.”

His surf reports have made him an unofficial mayor of Venice surf culture, getting recognized at the beach town’s local hangouts like Hinano Cafe and the Cow’s End. “People stop me and tell me they love my surf reports. They don’t even surf, but they see it every day,” says Walsh. “I always tell people I’m very popular between Washington Boulevard, Lincoln Boulevard and Rose Avenue.” His nickname around town is Glenice Venice.

However, the real triumph wasn’t becoming recognizable around Venice — it was finding other queer surfers, something that felt elusive in Walsh’s youth in Southern California. “I had met a lot of other surfers from all over the world and built a queer community of surfers here in L.A.,” says Walsh. “It was pretty awesome.”

Walsh saw an opportunity to use his surf report to not only report on the condition of the ocean — which is especially unpredictable during our current El Niño cycles — but to also create a burgeoning queer space in the Venice surf scene. “I could set up a community-based surf report for everybody, and the fact that I happen to be queer made it a little more unique,” he says. He began to connect with gay surfers, organizing trips with them and building lasting friendships. “It was just a lot of fun, building a little team.”

Later, Walsh became a co-producer and music supervisor of a movie about homophobia in surfing titled “Out in the Line-Up” that premiered at film festivals across the world in cities such as New York, San Francisco and Sydney, Australia. “The movie kind of spoke for itself. It was a worldwide issue — homophobia in surfing.” Since then, Walsh has served on panels about queer people in the surf world. Last June, the film had a 10th anniversary screening in Venice, hosted by the Venice Surfing Assn. “At some point, I brought some diversity to this culture. I put my name on it,” he says.

In recent years, others have joined Walsh’s efforts to create a burgeoning queer surf scene at Venice Beach. In 2020, Shelly Guidera relocated to Venice and noticed that there wasn’t a strong queer presence in surfing. “My friend and I were maybe the only queer people some of these surfers had ever seen,” she says. Shortly after, Guidera started Dream Team Surf, a collective for queer surfers to meet up and build camaraderie.

Its mission is simple. “It’s all of us looking out for each other,” Guidera says. “ Having a team of people makes the experience that much more enriching and safe.”

Surfers ride the waves near the Venice Pier, where Glen Walsh does his daily surf reports.

(Eric Thayer / Los Angeles Times)

Early on, Guidera was inspired by Walsh’s uplifting presence in the Venice surf scene. “This person is respected in the community for what he brings, which is knowledge and insight and fun and flair,” says Guidera. In turn, Walsh has championed Dream Team Surf.

In January 2025, Dream Team Surf hosted a Pride beach party with a banner that read: “Trans bodies belong on the beach.” In some San Diego area beaches, Guidera says, queer representation can still feel like an anomaly. “It’s so funny because it’s like these people have maybe never seen a woman in a bathing suit with hairy legs,” she says. “I’m like, ‘Oh my God, it’s not that deep.’”

Guidera is certified in surf therapy, taking courses through Groundswell Community Project, a surf therapy program that uses surf to promote holistic healing. The mental health benefits of surfing are lifelong, Guidera explains. “Growing up as a swimmer, surfing was a form of play and wellness,” she says. “It eased the brakes on competition and the structure within competitive swimming.”

Group photo of Dream Team Surf, which hosted a Pride beach party.

(Sara Werner)

Even if you don’t shred waves, being in the ocean can promote healing. “To give people access to the ocean that is in and of itself a form of wellness,” she says. “There’s a level of surrender and humility that comes with surfing and that comes with being in nature. … You have to be so present in such a way that makes you a stronger person.”

Like Guidera, Walsh also works as a surf instructor with a similar goal to instill confidence in his students. “I was teaching a lot of people to surf, mostly women who didn’t want a straight man to teach them how to surf because it feels vulnerable enough,” says Walsh. “I try to break down the stereotypes and have a little fun with them and let them become a kid again.”

When done correctly, he argues, surfing can invite expansiveness. “I love seeing people out there. Feel the fear and do it anyway,” says Walsh. “And creating a lifestyle around it — going to different beaches — and meeting friends.”

Poorna Jagannathan has played everything from a ruthless gangster (“Deli Boys”) to an overbearing immigrant mom (“Never Have I Ever”). Now with HBO’s “Lanterns,” she adds an all-powerful galactic android to her acting resume.

Her character’s identity was a secret for much of HBO’s DC Comics series until a reveal in Episode 4 that a rancher’s trophy wife, Zoe Macon (Jagannathan), was, in fact, the deadly Manhunter. Then another great surprise rocked the “Lanterns” universe Sunday when in Episode 5, she is killed by Lantern trainee, John Stewart (Aaron Pierre).

“She is dead, for sure. Maybe …” teases Jagannathan, who had to take a crash course in Green Lantern lore before assuming the role in the eight-episode series from showrunner and co-creator Chris Mundy (“Hell on Wheels,” “True Detective,” “Ozark”).

Jagannathan’s character belongs to an ancient, shape-shifting race created by the Guardians of the Universe as the galaxy’s first police force, but they’ve since gone rogue and are now out to eliminate the human race. Green lanterns are interstellar peacekeepers who wear rings that give them extraordinary powers. When veteran Lantern Hal Jordan (Kyle Chandler) and his mentee Stewart are tasked with solving a murder in rural Nebraska, they trip upon a great mystery that included ferreting out which resident in the small town of Rushville is the Manhunter.

The series has been lauded for elevating the superhero genre while presenting as a gritty crime drama. In this edited conversation, Jagannathan explains the demise of the Manhunter, how she morphed into a comic book villain for the role and what it’s like to feel all powerful at this stage in her career.

John Stewart (Aaron Pierre) and Zoe Macon (Poorna Jagannathan) in a scene from Episode 5 of “Lanterns.”

(HBO)

How much did you know about the DC universe before taking on this role?

I didn’t understand a lot of this world, but I did grow up on Wonder Woman. I twirled my way into my teens. So at least there’s that. It’s such a huge property, so there’s a lot to learn. But I realized that there’s a lot of similarities between Lucky (the gangster she played in “Deli Boys”) and Zoe. Lucky was originally written for a man. So with “Lanterns,” when I was first reading the script, I just kept looking at the cast of characters and thinking who might it be? I just expected a man would be playing the Maneater.

Maneater?

I mean Manhunter. I kept messing up and saying that when we started working on the show, too. It’s the name of an old Hall & Oates song. [Jagannathan hums, “She’s a man eater… .”]

Explain who or what a Manhunter is.

Manhunters were created by the galaxy as part of a police force, and then they went rogue. They were created to enforce justice, but it was a very particular kind of justice. There was no gray in the Manhunter. No emotion. It was either right or wrong, and they would eliminate what was wrong. But then they started feeling things.

The guardians saw it was an operation that went wrong so they closed it down. She [Zoe] is a sole survivor. She runs away to a place where she adapts quickly to the creatures around her, and learns how to feel. So she’s this feeling machine that battles against her own programming, but at the end of the day she can’t help her programming. When there’s a conflict, she resolves it by killing half the population.

Jagannathan on her character in “Lanterns”: “She’s a sole survivor. She runs away to a place where she adapts quickly to the creatures around her, and learns how to feel.”

(Christina House / Los Angeles Times)

Manhunters morph to fit in with the population around them, but the skin your character chooses is that of a brown Indian woman. She does not look like anyone else in the small, predominantly white town of Rushville. Her explanation of why she made that decision — to essentially not fit in — is really powerful. Can you recall what she said?

I remember that monologue. [John Stewart] asks, “Why did you choose this skin?” I say, “Power.” “How do you conquer a civilization and a people?” You come to it from the outside. “How do you learn about things from the outside?” In your world, you don’t want obstacles, but in my world, I need those obstacles to get a higher vantage point, to see a deeper purpose.

The absolute outsiderness is a relatable point. I did ask Chris about it and he basically said that as an Indian woman in Nebraska, you’re an outsider. You’re already alien. People are not going to ask you a lot of questions. You’re not going to be part of any power structure. So she just is an anomaly, and there’s no more questions around it.

Did you know Zoe would turn out to be the Manhunter when you first auditioned for the role?

No. The scenes that I got were the one at the bar where I’m picking up Stewart, and the scene right before I die, which is [when we’re] in bed and I’m trying to get him to leave. Like “You gotta go or you’ll die!” They didn’t indicate she was extraterrestrial in anyway. There was no E.T. flair to [the dialogue]. It was so grounded that it was easy to inhabit this character. I’m happy because if I had had even an inkling she was the Manhunter, I might have brought an alien touch to the scene. But I couldn’t quite figure out her place in the story. Definitely not during the audition, and definitely not till I read the last [scene].

Your first big breakthrough on American television was in 2016’s “The Night Of.” That was 10 years ago. Now you’re landing all these powerful, commanding and sometimes villainous roles.

I’m telling you, it’s like I couldn’t have imagined a future like this. If you’d asked me back then what kind of role do you want, I’d have no idea. Between Zoe and Lucky, they’re my two favorite TV baddies. Then Nalini (the overbearing mom in “Never Have I Ever”) and Salma (who has an affair with the title character in “Ramy”). All these characters are very strong women.

What is it that you channel to embrace these powerful roles?

The second I turned 50, I just felt an inexplicable comfort in my own skin that I never felt before. A belonging in my own skin. That translates into belonging in different spaces where I could have been uncomfortable in before, so it’s a great time to inhabit these characters. Before I would have really s— myself with a character like Lucky or Zoe, but now it feels a lot more accessible.

1

2

1. Jagannathan as Aunt Lucky in Hulu’s “Deli Boys.” (James Washington/Disney) 2. Maitreyi Ramakrishnan as Devi, left, and Jagannathan as Nalini in Netflix’s “Never Have I Ever.” (Isabella B. Vosmikova/Netflix)

Do you see similarities between the characters you’ve played over the past few years?

They’re untethered, powerful women. They will do anything to keep their power. Their north star is power over anything else. Usually with female characters, everything always hearkens back to the family. Zoe is older. She is confident. She weaponizes her femininity right away, and she’s unafraid. She does it with nonchalance. She appears to not give a [damn].

All villains and warriors have an Achilles’ heel, and for female roles in particular, it’s usually sacrificing themselves to protect their family. Family is their kryptonite.

But a character like Zoe is willing to destroy everything, including her family, to keep power. She’s untethered from love and responsibility. You always expect a very masculine force to come in with this kind of power, and the fact that it never does with “Lanterns” is so unique.

You spoke on a “Lanterns” panel at San Diego Comic–Con? Describe the experience.

The [people who come in costume] are better humans than I am. To go somewhere and have your entire family dressed in Spider-Man regalia, roaming the streets of San Diego. It’s a manifestation of pure, unbridled passion from youth then passed down through generations. I wish I too had a passion like that.

“The second I turned 50, I just felt an inexplicable comfort in my own skin that I never felt before,” Jagannathan says. “That translates into belonging in different spaces where I could have been uncomfortable in before, so it’s a great time to inhabit these characters.”

(Christina House / Los Angeles Times)

Were you terrified somebody would ask you a complicated question …

… about Green Lantern?

Yes.

I had to be really upfront and honest and explain that I know so little. It’s Aaron [Pierre] who is really into comic books. He really got into this world. I did speak to a Green Lantern expert as part of the preparation for the role. I do remember him telling me how special John Stewart was in the universe. One of the first introductions of a Black superhero [in mainstream comics] was in Green Lantern, so it holds a very sacred space in comic book history.

Can you talk about your forthcoming Apple TV drama series, “Nocturne.”

It comes out Oct. 30, and it’s basically like if “Silence of the Lambs” was a documentary on Florence Nightingale. That makes it seem so tame, but it’s so, so frightening. The serial killer genre is new for me. I read the book [it’s based on] and had to install a security system in my home. I couldn’t sleep anymore! It’s with Stephen Graham, Liev Schreiber and Zazie Beetz. I play an overworked FBI agent who was brought in to help solve a crime that [law enforcement] initially tried to deal with internally and they messed it up. So they decided they decided to bring in the big guns.

You said earlier that Zoe is an outsider. Did you consider yourself an outsider, too?

Growing up, we moved around a lot. I was literally changing languages every three years. I needed to adapt quickly to whoever was around me, and it often came at the expense of never really knowing myself. You just had to quickly read the society. The language. The gestures. You had to decode quickly in order to fit in.

Even as an adult, I was not fully settled into a point of view until my 40s. That was maybe the allure of acting — getting to show a little bit of my insides through acting. It’s finding out who you might be.

Evelina Fernández’s “Antigone: In the Language of Kings” receives a theatrically entrancing staging at the Getty Villa’s Outdoor Theater in a production co-produced with Latino Theater Company.

The adaptation resets Sophocles’ tragedy to Aztec culture in a transposition that is both visually and musically enlivening. If the drama is oversimplified, it nonetheless makes for a gripping spectacle.

It’s not easy to find analogies that can reanimate the importance of burial rites to a modern audience. The production’s creative team, led by the inexhaustibly inventive director José Luis Valenzuela, returns us to a world where the dead are owed sacred duties and the living are fearful to renege on this basic human responsibility.

The incense-filled production — conducted in English, Spanish and Nahuatl (the language of the Aztecs), with English and Spanish supertitles — proceeds like a pageant. Headdress-clad warriors clash on the battlefield. A masked chorus, moving with the coordination of a Broadway musical ensemble, gives voice to the anxiety and grief of the collective. A statuesque figure of death, trailing black fabric, sweeps up the casualties of war with the efficiency of a human vacuum.

In Sophocles, Antigone, Oedipus’ headstrong daughter, defies the edict issued by her uncle Creon, the newly deputized king, declaring that her slain brother Polynices is an enemy of the state and therefore ineligible for burial. For Antigone this is an imposition of political power over divine law, and she puts her life on the line to uphold her obligation to her family and faith.

The ensemble of “Antigone: In the Language of Kings” at the Getty Villa Museum Outdoor Classical Theater.

(Cassia Davis / © 2026 J. Paul Getty Trust)

The German philosopher Hegel considered Sophocles’ “Antigone” the high-water mark of tragedy for the way it dramatizes the collision between two equally justified moral positions. Creon, representing the claims of the polis over the clan, cannot be dismissed outright. Nor can Antigone, whose all-consuming identification with her cause renders her indifferent to other obligations, be adopted as a user-friendly hero.

Tragedy arises from the one-sidedness of their claims. Antigone loses her life and Creon, for all intents and purposes, destroys his own, suffering the deaths of his most cherished loved ones.

Hegel’s reading of “Antigone” illustrates his thesis-antithesis-synthesis view of dialectical progress. Sophocles, it can be surmised from the other plays in his Oedipus cycle, likely conceived “Antigone” with a larger metaphysical design. But even if Hegel’s interpretation would have seemed off the mark to him, Antigone and Creon are too complex to reduce to a schematic argument.

Fernández simplifies these antagonists. Her Antíkona (a formidable Esperanza América) reveals her softer side even when rejecting her sister, Ixmene (Alexis B. Santiago), for not having the courage to zealously join her fight.

Tlahtoani Klion (Cástulo Guerra), Emperor of Tenochtitlan, is a ruler so intoxicated with his own authority that he’s clearly courting rebuke from the gods. It’s only a matter of time before his hubris is slapped down.

The acting is theatrically robust, though not always subtle. I wondered if ambiguity had been outlawed along with the funeral rites of Antíkona’s warrior brother Polynices. The bold clarity of the performances was energizing, but the wailing sometimes sounded like parody grief.

The outsize nature of the production invites overacting. And Ric Salinas, who plays Chachalacani, humorously obliges, bringing his Culture Clash vaudeville skills to the role of the sentry who’s caught between the rock of Klion’s tyranny and his fellow feeling for Antíkona’s sympathetic cause.

Strong performances are elicited from José Eduardo Moreno, who plays Klion’s son Hemon, Antíkona’s fiancé, and Zilah Mendoza, who plays Cihuatlahtoani Euridice, Klion’s wife. Their portrayals, mixing ferocious strength with stark vulnerability, make the tragedy’s pileup of bodies at the end all the more piercing.

The ensemble of “Antigone: In the Language of Kings” at the Getty Villa Museum Outdoor Classical Theater.

(Cassia Davis / © 2026 J. Paul Getty Trust)

América’s Antíkona is as unyielding as any Antigone I’ve seen. It’s a commanding portrayal, but I wish the production didn’t shrink from its protagonist’s fierceness. The obdurate side of the character is lessened with a gesture Antíkona bestows on Ixmene — a reassurance that even though she’s a revolutionary, she’s still an affectionate sister.

Sophocles is made of harsher stuff. Fernández’s adaptation is anxious to turn tragedy into a sermon, offering theatergoers moral solace where Sophocles leaves his audience in a contemplative state of stunned silence.

But the staging makes up for the dramatic shortfall. Valenzuela masterly orchestrates the mise-en-scène. The majestic costumes of Catarina Copelli, invoking a rich brocaded world on the brink of disappearance, might be the real superstar.

François-Pierre Couture’s scenic design is mesmerizing without ever being overbearing. “Lee” Xinyuan Li’s lighting heightens the sense of theatrical foreboding. Yee Eun Nam’s projections inject into this transient world a welcome subtlety.

Urbanie Lucero’s choreography and movement direction maintain the production’s graceful poise. The musicians, discreetly performing at the back of the stage under the guidance of Mesoamerican instruments director Christopher García, charge the air with percussive Indigenous wonder.

“Antigone: In the Language of Kings” marks the Getty Villa’s 20th anniversary of reinventing classical tragedy for our time. This gorgeous staging makes me ardently wish that the theater extends the tradition for at least another 20 years.

A new chapter in Saudi Arabia’s cultural and creative journey begins this morning as the inaugural cohort of students at Riyadh University of the Arts starts their first academic semester. The university launches with immense ambition, bold objectives, and a steadfast foundation: a Saudi identity built on global standards.

Since its inception, the university has enjoyed historic support from the Custodian of the Two Holy Mosques and the Crown Prince — may God protect them — alongside regulatory empowerment that reflects their dedication to the role of culture in the nation’s progress. This culminated in the royal decree authorizing its establishment and approving its charter, representing the highest regulatory authority in the Kingdom.

The overwhelming response to enrollment at the university highlights the genuine passion of Saudis for culture and the arts, a passion rooted in their authentic cultural heritage and ambitious future vision. Since the opening of applications was announced, the university has received thousands of enrollment requests across various cultural disciplines and degree programs offered in its inaugural year. This underscores a true belief in the present and future of the arts within the Kingdom’s major developmental journey, coinciding with a phase in which the entire world is witnessing a remarkable expansion in the creative economy and cultural investment.

The university serves as a major milestone in the human capability development project within the cultural sector. This massive undertaking has seen the Kingdom’s cultural ecosystem make significant strides, with human capability and development initiatives accounting for more than a quarter of all initiatives launched by the ministry and its cultural commissions over the years. These initiatives have served a long list of beneficiaries, with more than 63,000 individuals receiving education and training across various cultural sectors since the establishment of the Ministry of Culture in 2018. The project continues to grow, with its creative impact visibly reflecting on all facets of development within our flourishing society.

I congratulate all the creative men and women who began their academic journey today at Riyadh University of the Arts.

Because education is the foundation for building cultural capabilities, the university has arrived to strengthen the development of the cultural sector, achieve global excellence in culture and arts education, and elevate Saudi culture and its presence both locally and globally. It also aims to bridge the current gap in the cultural labor market, foster an environment that stimulates cultural initiatives in the private sector, and boost overall cultural production in society. This comes at a time when Ministry of Culture forecasts indicate that demand for cultural jobs will exceed 7 percent annually of total employment, with the number of jobs across various cultural sectors projected to reach nearly 346,000 by 2030. Additionally, demand for roles in arts, technology, and design is growing annually by 40 percent in the Middle East, alongside a growth in cultural tourism of more than 109 percent between 2019 and 2022.

The university offers its programs in cooperation with the world’s most prestigious universities through partnerships that facilitate knowledge transfer and the exchange of expertise. This educational framework combines academic rigor with creative innovation and the integration of technology, while balancing theoretical sciences with practical application. It further enables researchers to expand their scope of awareness and knowledge within a fertile cultural environment like Saudi Arabia, where the cultural sector has proven its ability to effectively contribute to the national economy, achieving rapid growth thanks to the support of our wise leadership and the contributions of Saudi creatives across all fields.

The university aims to become a specialized, leading institution in the field of culture in the Middle East and North Africa region, rank among the top 50 cultural universities internationally, and serve as a global hub for academic achievement, scientific research, and cultural and knowledge exchange from Riyadh to the entire world. Among its core missions, the university focuses on strengthening the value chain across all cultural sectors and supplying them with creative and leadership talents, including artists, producers, administrators, and entrepreneurs. This spans the fields of cultural management, film, music, museum management, theater, performing arts, design arts, architecture, fashion, visual arts, photography, heritage and civilization studies, culinary arts, and cultural education.

I congratulate all the creative men and women who began their academic journey today at Riyadh University of the Arts. I am entirely confident that this major milestone will enhance their creative paths, given the university’s commitment to providing top-tier education through partnerships with leading institutions. It offers an exceptional student experience through a diverse range of disciplines, programs, and innovative educational methods, while enabling research and collaboration across cultural sectors. Together, we will enhance the competitiveness of national capabilities in the cultural sector so that Saudi Arabia may flourish with diverse cultural expressions that enrich individual lifestyles, strengthen national identity, and foster cultural dialogue with the world.

I extend my thanks and appreciation to Custodian of the Two Holy Mosques King Salman bin Abdulaziz, and to Prince Mohammed bin Salman bin Abdulaziz, Crown Prince and Prime Minister, for the care, empowerment, and encouragement that Saudi culture receives.

— Prince Badr bin Abdullah bin Farhan is Saudi Minister of Culture and Chairman of the Board of Trustees at Riyadh University of Arts.

— This article was first published in Arabic in Asharq Al-Awsat.

JEREMY Clarkson has backed an Instagram influencer to take over Gardener’s World following Monty Don’s shock exit.

Don announced his departure earlier this week after 23 years on the show.

Writing in his column for The Times, Jeremy has called upon the BBC to carefully consider who will be Don’s replacement.

The former Top Gear presenter reflected on the gardening show tenderly, calling it a “pixelated comfort food”.

However, Jeremy made a surprising suggestion as to who could fill Don’s shoes.

He said: “So, for the new host, might I recommend that the producers trawl the staff in the nation’s garden centres for candidates. Or check out a girl called Chloe from Blooms & Greens on Instagram.”

‘HE SAVED LIVES’

Jeremy Clarkson’s partner is ‘so proud’ he went public with cancer battle

baby gaga!

Lady Gaga seen with new baby for first time after superstar welcomed first child

Chloe, who boasts 672,000 followers online, is famed for her gardening videos.

She offers short snippets of her tending to her organic vegetable garden or floral bouquet creations.

And it seems Jeremy is not the only fan, with one of her videos racking up 2.3million views.

He said: “This is a show that’s watched by a certain type of people. And it should be presented and written and produced by that sort of person.”

He likened her to Don himself, but 50 years his junior, Irish, and a woman.

Speaking of his own gardening skills, Jeremy confessed to being less garden-native than the beloved host.

He called himself “the only person in human history ever to kill a spider plant.”

And that was not his only planting frustration he reflected on – one time he bought a Baobab tree seed from Morocco.

The same seed refused to grow until he passed it onto his gardener, Shaun, where it is now thriving under his care.

Jeremy also delved into the time he planted 50 Christmas trees, only for 47 of them to grow too tall to be of any use.

He said: “But despite this ineptitude, I do watch Gardeners’ World and that’s why I was sad this week to hear that after 23 years, Monty is leaving the show.”

With the BBC likely currently having conversations about Don’s replacement, Jeremy weighed in with his concerns on the topic.

He said: “I have the most horrible feeling that whoever gets the gig will not be the sort of person who wears corduroy.”

He suggested, if not Chloe, then producers try garden centres to find a host.

Jeremy added: “What they need to remember is that Gardeners’ World is a show about gardening, for sure, but it’s also a state of mind.”

RIYADH: Prince Fahad bin Jalawi bin Abdulaziz, vice president of the Saudi Olympic and Paralympic Committee, received an honorary 6th Dan black belt from World Taekwondo President Chungwon Choue during their meeting at Taif Camel Racing Track.

World Taekwondo gave Prince Fahad the black belt in recognition of his efforts to support taekwondo globally and promote international sports through Saudi Arabia’s hosting of major events.

The honorary belt is awarded exclusively to heads of state and sports officials who support taekwondo’s development.

The presentation took place on the sidelines of the 15th General Assembly of the Islamic Solidarity Sports Association in Taif, which brought together leaders of Olympic committees from 57 Islamic countries, along with heads of international sports federations and organizations.

Sept. 11, 2026 11:58 AM PT

WASHINGTON — President Trump observed Friday’s 25th anniversary of the Sept. 11 attacks at a ceremony at the Pentagon by commemorating the lives lost when Al Qaeda militants hijacked planes and killed nearly 3,000 people in three locations and upended American foreign policy and national security.

Trump and First Lady Melania Trump listened as the names of the 184 people killed at the Pentagon that day were read aloud, a bell tolling between each. In his remarks, Trump recounted the stories of several of the victims and insisted that the moment has led to a fortification of American resolve.

“We will never, ever forget,” Trump said. “That’s why we fight today. We don’t have a choice.”

Earlier, in a downpour at daybreak, Defense Secretary Pete Hegseth and top military officials stood outside and watched as a giant American flag was unfurled on the building struck by one of those planes a quarter-century ago.

It was the second year in a row that Trump observed the day at the Pentagon. The president, who is originally from New York, last attended the ground zero ceremony there in 2024.

Vice President JD Vance attended the New York observance alongside former presidents, while other administration officials took part in the ceremony in Shanksville, Pa. Vance had planned to be in New York for the anniversary last year but instead flew to Salt Lake City to be with the family of Charlie Kirk after the conservative activist was fatally shot.

Widow calls on Trump to reconsider relations with Saudis

At one point during the solemn remembrance in New York City, a woman whose husband died in the attacks criticized Saudi Arabia and called on the Trump administration to rethink the United States’ tight relationship with the kingdom.

Terry Strada, who lost her husband Tom Strada on 9/11, called on Trump to “tell the Saudis to stop lying” and accused U.S. presidents of choosing “to protect the Saudis instead of standing with the 9/11 families.”

Strada, who was one of the 9/11 family members who read aloud the names of victims at this year’s remembrance, added that the current administration should “stand with the families, stand with the survivors.”

“It has been one betrayal after another. President Trump can still change that,” she said before calling on Vance to “carry that message back” to Washington.

Strada is part of a group of family members of 9/11 victims embroiled in a long-running lawsuit against the Saudis. They allege a group of extremist religious leaders in Saudi Arabia gained influence in the Saudi government and aided the hijackers. Fifteen of the 19 hijackers were Saudis, but the Saudi government has long denied any involvement in the attacks.

Trump and Hegseth try to bridge 9/11 and Iran war

Trump began his remarks by recalling the sense of American unity following the attacks. “In those harrowing days after the attacks, we saw the authentic spirit of our nation,” Trump said. “We were all New Yorkers that day. Every one of us. We were all New Yorkers. We were all family.”

The president and his Defense secretary sought to connect the events of 9/11 to the war with Iran. Trump saluted the service members “working right now to ensure the world’s No. 1 sponsor of terror — the Islamic Republic of Iran — will never, ever have a nuclear weapon.”

Hegseth used the moment to make the case that the U.S. military had “laid waste to the world’s most prolific state sponsor of terrorism” with the war against Iran.

“Our warriors have fought an Islamic theocracy that has wished us death for nearly half a century, that cheered on 9/11, a regime that has sponsored terrorist attacks against Americans for decades, killing thousands, including our comrades in Iraq, in Afghanistan,” Hegseth added.

Officials wonder if 9/11 could have been thwarted

At Friday’s commemorations, there was also a measure of reflection about whether 9/11, the deadliest attack on the U.S., could have been prevented.

Homeland Security Secretary Markwayne Mullin at a ceremony at his agency’s headquarters said it was a moment to consider the success of his department, which was established following the attacks and has “prevented it from happening again.”

Still, Mullin noted that Osama bin Laden, architect of the attacks, had fired “warning shots” in the years prior to 9/11 about his intent to carry out a major strike on the U.S. The U.S. national security apparatus certainly had “failures along the way,” Mullin said.

Condoleezza Rice, who was serving as White House national security advisor on 9/11, participated in Friday’s commemoration at the Pentagon. In her remarks, she acknowledged that she still feels deep pain that “those of us in authority on that day did not see the nature of the danger in time to prevent the attack of 9/11.”

“I will always carry deep personal remorse for the pain that you, the families of the fallen, still feel, and for the trauma that our country endured,” Rice said.

Binkley, Madhani and Kinnard write for the Associated Press. AP writers Anthony Izaguirre and Sagar Meghani contributed to this report.

The biggest news to come out of two film festivals this week stemmed from documentaries about tech moguls gone bad.

When Alex Gibney’s film production “Musk” premiered at the Venice Film Festival on Tuesday, it received a five-minute standing ovation, shouts of “thank you” from the audience and endless play across social media. The nearly four-hour production chronicles the rise of the world’s first trillionaire out of the dot-com boom, and lays bare the dangers that the Tesla and SpaceX chief executive now presents as a plutocrat with questionable judgment and unchecked power.

Closer to home, at the Telluride Film Festival, it was comedian Nathan Fielder (“The Rehearsal”) and Lance Oppenheim’s “You Can See Everything” that made breaking news. Their film features unfettered access to former Theranos Chief Executive Elizabeth Holmes in the weeks before she reported to federal prison to serve a sentence of 10 years and three months. She rode the early 2000s wave of venture-capitalism consumer-tech hype, defrauding investors and the public with a bogus new way to test blood. By 2014, she was the world’s youngest self-made female billionaire.

A couple of decades ago, films about Musk and Holmes probably would have framed the pair as forward-thinking entrepreneurs and architects of a new era. Today, the pitchforks are out, and who else better represents the hubris and greed of late-stage capitalism?

There’s plenty of buzz around both films ahead of their October releases, yet the richest man in the world is helping promote the “Musk” doc by incessantly posting about Gibney and his “hit” piece.

Musk’s X posts have referred to the filmmaker as a “horrible human” and a “bitter old man” and declared, “Dogs— is worth more respect.” Always looking for a conspiracy to explain away the perfectly explainable, he wrote that the film was a “psy op.” He included in the post an image of Gibney as a puppet of the Democratic Party and George Soros. Musk also offered Trumpian prose: “Gutless Gibney’s fatal flaw of fabricating a false film.”

“Musk” is due for a theatrical release in the U.S. on Oct. 16 followed by a streaming launch on HBO Max.

Musk’s attorney Alex Spiro is threatening a lawsuit. He sent a letter to the Gibney-led Jigsaw Productions accusing the filmmaker of misrepresenting facts about the mogul. Spiro says the filmmaker suggested that Musk used his Starlink satellites to bend the 2024 election in favor of his friend and ally Donald Trump.

“You are … on notice, before release, that the insinuation is false, that the material refuting it is public, and that you chose not to be told the rest,” Spiro wrote. Spiro claimed he contacted the production “multiple times” and “requested an opportunity to present the facts in the normal fact-checking process that is the hallmark of ethical journalism. You have refused to engage.”

Gibney says Musk declined to be interviewed for the film. In his absence, the documentarian created a digital avatar of the Tesla CEO and used statements pulled from decades worth of the entrepreneur’s interviews and public appearances. The film chronicles his childhood in South Africa and his time in Silicon Valley, and suggests that Musk’s genius is not as an inventor but as an investor. His talent, the film contends, is stock-pumping.

“Musk” also reportedly explores how the trillionaire had access to sensitive techno-surveillance data when he ran the Department of Government Efficiency (DOGE) under President Trump in 2025. Geoffrey Hinton , often referred to as the Godfather of AI, is interviewed in the film and explains why Musk’s potential access to the data is such a problem: “It’s fairly clear to me that Trump is hell-bent on corrupting the midterm elections,” Hinton says. “If you wanted to corrupt those midterm elections and you wanted to use AI, all you needed to do was get detailed information on U.S. citizens. And what DOGE did looked like just what you would do.”

Gibney in interviews about the film has warned that Musk’s widespread, unchecked power is “extremely dangerous to world democracy.”

“What I discovered was that the story of Musk was not [a] new tech story,” Gibney said in a news conference at the Venice Film Fest. “[It’s] really the story of an old wine in a new bottle. His story turns out to be the story of the confidence man, the stock pumper, his wealth and power comes from inflated stock, and so I had told that story before with Enron and with Elizabeth Holmes, and so it was a story that was oddly familiar to me.”

Gibney is renowned for taking on big money, corruption and anything else that reeks of injustice. He’s tackled Wall Street, big pharma, Scientology, Guantanamo, and even Theranos founder Holmes.

The new film about Holmes, “You Can See Everything,” offers a quirkier, up-close take on Holmes. Produced by A24 and set for an Oct. 16 theater release, it follows the disgraced CEO post-conviction, and she appears more than comfortable in front of the filmmakers and their cameras. Audiences at Telluride were surprised by the access she gave to the filmmakers, and that Holmes spoke openly about her plans to launch a biotech comeback and revive Theranos from her cell in a Texas prison camp.

Forget the celebrity glitz of high-profile film festivals. In these eat-the-rich times, it’s the dark side of wealth, fame and alleged genius that satiate audience appetites. Enter two new documentaries that feed the beast.

The “best of the best” in athletics are preparing to compete in the inaugural World Athletics Ultimate Championship that gets under way in Budapest this weekend.

The three-day competition will see 26 Olympic champions from Paris, 26 world champions from Tokyo last year, and this season’s top athletes battle it out to be crowned the best in track and field.

Many return to the stomping ground in the Hungarian capital after successes at the 2023 World Championships, while others have racked up global titles after breakout performances throughout the year.

Here’s Al Jazeera’s all-to-know guide to the meet:

Who, what, where and when at the Ultimate Championship?

The Ultimate Championship is an invite-only competition featuring the Olympic gold medallist, World Championship gold medallist, Diamond League winners, and the best performers of 2026 based on the World Rankings qualification system.

It runs from September 11-13 in Budapest and will become a biennial feature in World Athletics’ calendar. The sport’s global governing body chose 2026 to launch the event in between the World Championships, and, in Olympic years, use it to round out a highly competitive season.

Jamaican sprint legend Usain Bolt, an ambassador for the event, said it was “great to see track and field going in a different direction”.

“It’s going to be great to see the best of the best,” the eight-time Olympic gold medallist said at a news conference on Thursday before the event.

“This was one of my greatest things. I’ve always lived to compete against the best and I would thrive in this moment.”

What is the Ultimate Championship prize pot?

The $10m prize pot will see winners of each event bag a record $150,000.

That’s more than double the $70,000 given at last year’s World Championships in Tokyo, and three times what was awarded by World Athletics to Olympic champions in Paris. Second place takes home $75,000, third place $40,000, all the way to $2,000 for 16th-place finishers.

Relay teams will split $80,000 among themselves, followed by $40,000 and $24,000 for second and third place, respectively.

The Ultimate Champion also walks away with global “bragging rights”, World Athletics President Sebastian Coe said before the event as he explained its significance to the sport.

What’s new at the Ultimate Championship?  

For one, there are no medals. It’s part of World Athletics’ “reimagining of awards” that replaces the traditional accolade with a customised trophy for the Ultimate Champions based on individual tokens.

All events will be direct semifinals or finals rather than starting off as heats. Athletes competing in the men’s and women’s 200m will select their preferred semifinal heat and lane based on their seed order.

A tie for first place in a vertical jump will be decided by a jump-off rather than be shared, while athletes in throwing events will have four attempts down from the typical six, that too in the 8:8:6:4 model.

The mixed 4×100-metre relay will feature in Budapest after its debut at the World Relays earlier this year, with each quartet competing in national kits.

Why is Ultimate Championship getting criticism from a few athletes?

A number of events have been excluded from the Ultimate Championship, including shot put, triple jump, women’s hammer throw, and discus throw, as well as long-distance track events like 3,000-metre steeplechase and 10,000-metre.

World Athletics said its decision was based on viewership and priority for faster-paced events.

Olympic discus champion Matthew Denny and former world champion and two-time triple jump champion Pedro Pichardo were among the athletes who lamented the decision on social media.

Denny, current world number two, explained that the prize money “can change a career and a life” and implored World Athletics to reconsider its stance on public interest driven by its own statistics.

“Innovation should not come at the expense of opportunity.”

World record watch

These athletes are already the creme de la creme in their field and are most likely to set a world record, based on this year’s performance:

• Men’s Pole Vault: None other than Sweden’s Armand ‘Mondo’ Duplantis, who has broken the world record 15 times and most recently this March.
• Men’s 800m: World lead Emanuel Wanyonyi has repeatedly threatened fellow Kenyan David Rudisha’s 1:40.91 set at the London 2012 Olympics.
• Women’s 800m: Audrey Werro is fresh off her 1:53.70 set on home soil at the Zurich Diamond League in August. The Swiss’s time is third all-time and dangerously close to the 1:53.28 set by Jarmila Kratochvilova in 1983.
• Men’s 400m hurdles: Brazil’s Alison dos Santos recently smashed the record in Zurich, five years after Norway’s Karsten Warholm clocked 45.94 at the Tokyo Olympics.
• Women’s 100m hurdles: Zurich magic extended to the women’s 100m hurdles as USA’s Masai Russell stormed to a 12.09 to cap off 12 straight wins this season.

OASIS have launched a countdown to a major announcement with a drone display above their beloved Manchester City’s home ground.

Over the past few weeks, Liam, 53 and Noel Gallagher, 59, have dropped a string of cryptic clues about their next world tour, and last night they continued to hype up the buzz.

Oasis reformed two years ago, after the long-feuding brothers caused the band to split-up in 2009.

Now after their successful run of gigs last year, they have appeared to confirm they will be making another tour announcement on Monday (September 14).

Oasis teased the news with a huge drone display flying above the Etihad Stadium last night.

The display saw the band’s iconic black and white logo light up the sky at 11pm.

I DREAM OF VIEW

Where to watch the Oasis documentary: Cinema and Disney+ release dates

call back

Oasis teaser video ‘confirms’ tour location with cheeky nod group’s history

The incredible light show, which was 120m-long, then revealed a date which read “14.9.26”.

Onlookers got to watch the drone display in the sky for ten minutes before it disappeared.

Oasis have been dropping clues left, right and centre.

Yesterday, they appeared to confirm the tour locations with a new video which left viewers scrambling to decode where the gigs will take place.

And on Tuesday, Liam and Noel teased another upcoming tour location with a subtle nod to a moment around the time the group split.

Meanwhile, The Sun exclusively revealed that Oasis will be returning to the stage next year.

They will perform a record-breaking run of six concerts at Knebworth and a 12-date residency at the Etihad Stadium in Manchester.

World War Two continues to shape relations between Russia, China, Taiwan and Japan, with competing interpretations of the conflict increasingly intersecting with present day geopolitical tensions.

The issue resurfaced last week when Russian diplomats in Taiwan screened a film about Japanese militarism and World War Two. The screening raised concerns in Taiwan that Moscow was helping Beijing promote a narrative of a rising Japanese military threat while also creating divisions between Taipei, Tokyo and their Western partners.

The disagreement reflects fundamentally different interpretations of who fought Japan, who ultimately defeated Japanese forces in East Asia and which governments have the right to claim that legacy.

What’s Happening

Russia’s presentation of Japan’s wartime history comes against the backdrop of its own unresolved dispute with Tokyo over territory captured at the end of World War Two.

Soviet forces entered the war in East Asia only during its final weeks, when the Red Army moved into Japanese occupied northeastern China. Soviet forces withdrew from most of the region in 1946 and transferred many captured Japanese weapons to Mao Zedong’s communist forces.

The Soviet Union quickly recognized Mao’s government after the People’s Republic of China was established in October 1949 following the communist victory over Chiang Kai shek’s Republic of China.

Soviet forces also seized four islands off Japan’s Hokkaido at the end of the war. Russia calls them part of the Kurils, while Japan refers to them as the Northern Territories. Moscow continues to control the islands.

Russia and Japan have never signed a formal World War Two peace treaty, with the territorial dispute remaining a major obstacle.

China’s View of World War Two

Beijing presents the history of the war as a central part of China’s national narrative.

The Chinese government says China sacrificed 35 million people during its struggle against Japan, which Beijing dates back to Japan’s 1931 invasion of Manchuria.

China officially refers to the conflict as the Chinese People’s War of Resistance Against Japanese Aggression and describes World War Two as the World Anti Fascist War.

Beijing argues that China and the Soviet Union were the mainstays of resistance against Japan and Germany, while Chinese communist guerrilla forces formed the backbone of the resistance inside China.

This interpretation gives the wartime struggle an important role in China’s broader political narrative and its portrayal of Japan’s contemporary military posture.

Taiwan’s View

Taiwan strongly disputes Beijing’s interpretation.

Taiwan’s government argues that the People’s Republic of China cannot claim credit for a war fought before the PRC was established in 1949.

During World War Two, the Republic of China under Chiang Kai shek was China’s government, while Taiwan itself was under Japanese colonial rule. Republican forces carried out much of the fighting against Japan.

The Chinese civil war was temporarily suspended during the conflict as Chiang’s forces and Mao’s communists formed an uneasy alliance against Japan.

Taiwan also points to the formal Japanese surrender at the end of the war. The Republic of China, represented by Chiang’s government, signed the surrender alongside the other Allied powers, including the Soviet Union.

From Taipei’s perspective, Mao’s communist forces used the war to strengthen themselves and subsequently benefited from the civil war that resumed after Japan’s defeat.

Why It Matters

The competing historical narratives are not simply disagreements about the past. They influence how the governments involved portray present day security threats and diplomatic relationships.

For China, Japan’s wartime history remains an important element of its criticism of Japanese military development. For Taiwan, however, Beijing’s use of that history is also connected to its claim over Taiwan and its attempt to define the historical legitimacy of the Chinese state.

Russia’s involvement adds another layer because Moscow has its own unresolved territorial dispute with Japan stemming directly from the final stages of World War Two.

The screening of a film about Japanese militarism in Taiwan therefore carries significance beyond historical commemoration. Taipei sees the issue through the lens of its current relations with Japan and the West, while Russia and China share interests in challenging what they portray as a resurgence of Japanese military power.

Key Stakeholders

Russia retains control of the disputed islands off Hokkaido and has never concluded a formal World War Two peace treaty with Japan.

China presents itself as a central force in the wartime resistance against Japan and emphasizes the enormous Chinese sacrifice during the conflict.

Taiwan argues that the Republic of China, rather than the People’s Republic of China, represented China during World War Two and carried out much of the fighting against Japan.

Japan remains directly affected by the competing historical narratives, particularly because of its territorial dispute with Russia and its increasingly important relationship with Taiwan.

What’s Next

The dispute over World War Two history is likely to remain intertwined with current tensions in East Asia.

For Taiwan, the concern is that Russia and China could use wartime history to portray Japan as an emerging military threat and undermine Taipei’s growing ties with Tokyo and other Western partners.

For Japan, historical disputes remain connected to its relationships with both Russia and China.

For Russia and China, emphasizing their wartime resistance against Japan provides a historical framework through which they can criticize what they see as a revival of Japanese military power.

Analysis

The significance of the dispute lies in how history is being used as a tool of contemporary geopolitics. The same war produces fundamentally different political narratives depending on which government is telling the story.

Beijing emphasizes China’s enormous wartime sacrifice and the role of communist forces. Taipei emphasizes the Republic of China’s role as the government that fought Japan and signed the Japanese surrender. Moscow emphasizes the Soviet Union’s final campaign against Japan and retains territory captured during that period.

These competing narratives matter because they provide historical legitimacy for present day political positions. As Japan strengthens its security relationships with Taiwan and Western partners, wartime memory can be used to frame those developments not simply as responses to current security concerns, but as part of a longer historical confrontation.

The dispute therefore shows how the legacy of World War Two remains an active element of East Asian power politics rather than simply a question of historical interpretation.

With information from Reuters.

World champion Wu Yize fell in the third round of the English Open as Liam Davies scored an eye-catching 4-1 victory in Brentwood.

Welsh prospect Davies, 20, opened up a 3-0 lead on his way to the first ranking event quarter-final of his career, helped by a break of 105 in the second frame, then completed his victory as China’s Wu struggled to find his dynamic best form.

Tantalisingly, Davies will face compatriot Mark Williams, the three-time world champion, in the last eight on Friday evening.

Williams, still a major force on the baize at the age of 51, had breaks of 76, 103 and 63 in a late-night 4-1 victory over England’s Barry Hawkins.

Mark Selby, who was runner-up at last week’s British Open and won the China Open in August, had his hopes of reaching another final ended by a 4-3 defeat against fellow former world champion Kyren Wilson.

Selby led 2-0 in the all-English tussle after an early break of 112 but then lost the next three frames. He dragged himself level, but Wilson trebled in the yellow to effectively make sure of victory in the decider.

England’s Judd Trump, newly deposed as world number one, edged a tense decider against Scot Anthony McGill to take a 4-3 victory.

Trump will face a quarter-final against Shaun Murphy who was taken the distance after midnight by Pang Junxu before racing through the deciding frame with a 103 break.

Ali Carter had a highest break of 75 as he completed a 4-2 win over Gong Chenzhi, Zhou Yuelong made a 141 in his 4-2 victory over Chinese compatriot Yuan Sijun, and Ding Junhui beat Joe O’Connor 4-1.

Monty Don recently quit Gardener’s World after more than two decades but has now landed something new, teaming up with one of the most famous footwear brands in the country

Monty Don has landed a new job just days after quitting Gardener’s World. The TV star,71, is best known for having fronted the BBC agricultural programme, and on air for more than two decades.

But he stepped down from the position earlier this week, and is already onto pastures new as he is the new face of New Balance shoes, following the launch of the launch of the footwear company’s Flimby Garden in Cumbria.

A spokesperson said: “A permanent garden curated by Bleue Burnham for the people behind the New Balance Made In UK at its factory in Flimby, Cumbria.

“Created as a dedicated space for rest, reflection and connection, the garden brought New Balance’s manufacturing heritage with Burnham’s distinctive creative language and longstanding relationship with the natural world.”

Just days ago, the presenter said the time had come for change and he was ready for his next adventure, but promised his fans that the move does not signal the end of his TV career.

Monty said: “I have decided that the current series of Gardeners’ World is to be my last. I began hosting the programme 23 years ago, first at Berryfields and for the past 16 years here in my own garden, Longmeadow.

“Throughout that time – and around seven hundred programmes – I have had the privilege of sharing my own abiding passion for gardens and gardening with an equally passionate, and often equally knowledgeable audience.

“That connection with millions, not just in Britain but across the world, who share a love of gardens, plants and the natural world is something I have always treasured and which I increasingly believe to be at the heart of a life well lived.

“I have also always relished the craft of programme making and to do so, week in week out, as part of a superlative BBC team has been a deeply rewarding experience. But now is the right time for a change.

“I look forward to continuing to work with and for the BBC on other projects, as well as following new avenues. There are more books to write, more programmes to make. And of course, I will still be gardening, dog by side, here at Longmeadow.”

Born in Germany and raised in England, Monty made his television debut on This Morning in 1989 after his home garden was featured in several publications. After repeat appearances, he got additional TV work on BBC shows Holiday and Tomorrow’s World.

He also began putting his ideas and tips into words, and has published over 25 books since 1990. In 2002, he was recommended by Alan Titchmarsh to replace him as the lead presenter of Gardeners’ World. Monty then became the first self-taught horticulturist presenter in the show’s history.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

BERLIN: Buoyed by partisan home fans, host Germany upset Belgium 93-74 to reach the semifinals of the women’s FIBA World Cup on Thursday.

Leonie Fiebich scored 17 points and had 10 rebounds to lead Germany to a showdown with France on Saturday. Nyara Sabally also had a double-double with 16 points and 12 rebounds.

“I can’t quite believe it yet,” forward Frieda Bühner said. “We’re among the best four teams in the world. I can’t believe it. It’s crazy.”

The players screamed and whooped in celebration. Germany had never reached the semifinals before.

“Everyone stepped up today and we did it from the first second to the very last,” said Alexandra Wilke, who scored 10 points.

Germany lost their opening game by 30 points to Spain, but bounced back with impressive wins over Japan and Mali before routing South Korea in a playoff to reach the quarterfinals.

Egged on by fervent commentary from the announcer, fans cheered, jumped and waved Germany flags at the Berlin Arena to help the home team keep their momentum going.

“It’s always really cool to play in front of such a crowd,” Sabally said. “I couldn’t have wished for more, especially in Germany. It’s really cool to see that there’s so much hype and the whole venue is caught up in it. It’s really, really cool.”

It’s the sixth straight World Cup at which the host have made the final four since China failed to make the semifinals in 2002.

Belgium, the European champion, were one of three teams that advanced through group play without a loss.

Emma Meesseman led Belgium with 29 points and added eight rebounds, but her team were unable to regain the lead after Bühner made it 20-19 toward the end of the first quarter.

Germany did not qualify for the World Cup since the unified country’s only previous appearance as host in 1998. East Germany’s women’s basketball team finished fourth at the 1967 tournament.

France rout China

Marine Johannès and Janelle Salaün led France to the semifinals for the first time by beating China 90-61 earlier.

Both Johannès and Salaün scored 15 points while Gabby Williams contributed 14 as the Olympic finalists put themselves in contention for a first World Cup medal since the inaugural tournament in 1953, when France finished third in the final round.

“It means a lot,” Williams said of reaching the semifinals for the first time. “We want to be one of the greatest teams ever to put on the French jersey. Obviously, we have a big goal this tournament, but it’s great to check this off the list.”

Chants of “Allez les Bleues” rang around the Berlin Arena before Williams opened the scoring, and the French supporters made sure they were heard for the rest of the game as their team dominated on the court below. France have been fluid and free-scoring, beating their four opponents so far by a combined 156 points.

The team set a tournament record for 3-pointers in a single game by netting 22 in their final group game on Monday. The French players connected on 14 of 37 attempts Thursday, with Johannès and Salaün scoring three triples each.

“We are lucky because we are a group that have known each other for a couple of years now,” Salaün said of France’s team spirit. “We went through a lot of things, the Olympics, training camp(s), so we just know each other and we know what we want. We have a goal and we want to do everything to get to this goal.”

Salaün had an ice pack bound to her right knee. France coach Jean Aime Toupane told The Associated Press it was just a precaution.

Zhang’s impact limited

The French defense limited the impact of China’s 7-foot-3 Zhang Ziyu, who had the attention of two French players any time she received the ball. The 19-year-old sensation was held scoreless over her 7 minutes, 18 seconds of play in the first half, though she contributed in defense with three blocks before halftime.

There was nothing Zhang could do to stop Johannès from scoring successive 3-pointers in the third quarter, when she also got on the scoreboard. Zhang finished the game with seven points, eight rebounds and seven turnovers.

Han Xu, who had a double-double in each of her four games at the tournament, again led China with 21 points and nine rebounds.

US never in danger

The United States, the four-time defending champion, routed Hungary 108-56 in the first quarterfinal with Napheesa Collier scoring 19 points to stretch their winning run in the tournament to 34 games since a semifinal loss to Russia in the 2006 semifinals.

The US await the winner of Spain-Australia in the last quarterfinal later.

Tanzanian striker Clara Luvanga has joined the Washington Spirit from Saudi Arabian club Al-Nassr in a deal believed to be one of the most costly in the history of women’s football.

The fee paid by the National Women’s Soccer League side has not been officially disclosed.

Some are reporting it to be $2.3m, external (about £1.7m), which would make Luvanga the most expensive female footballer in history.

BBC Sport has not been able to verify this figure, although a well-placed source said they believed it ranked in the top five most expensive signings in the women’s game.

The Spirit declined to comment on the fee involved when contacted by BBC Sport.

Luvanga, 21, has signed a contract running to the end of the 2029 NWSL season.

If the reported record figure is correct, it would mean the fee passes the £1.4m that London City Lionesses are said to have paid to Paris St-Germain for Grace Geyoro last year.

However, the Geyoro fee has been disputed, further illustrating how transfer figures in the women’s game are often kept private.

With her move, Luvanga becomes the first Tanzanian player in NWSL history.

Luvanga won the Saudi Women’s Premier League in all three of her seasons with Al-Nassr, as well as the Saudi Women’s Cup, Saudi Women’s Super Cup and West Asian Football Federation (WAFF) Women’s Clubs Championship.

She also claimed the league’s golden boot last season after scoring 24 goals in 14 appearances.

The Washington Spirit are owned by Michele Kang, who also owns London City Lionesses.

London City made a series of high-profile signings during the summer transfer window, including two-time Ballon d’Or winner Alexia Putellas who arrived from Barcelona on a three-year deal.

Luvanga made her senior international debut for Tanzania in 2024. Before joining Al-Nassr in 2023, she played for DUX Logrono in Spain, having developed through the youth system at Tanzanian club Yanga Princess.

When discussing her new club, Luvanga said: “I am very excited to join the Washington Spirit and to take on this new challenge in the NWSL.

“I know I am arriving with the season already under way, but I’m really excited to play in a new league and a new country.”

Spirit sporting director James Hocken said: “Clara adds an exciting new dimension to our attack as we head toward the play-offs.

“Despite her young age, she has demonstrated the ability to score goals in different ways and has the profile to be very successful in this league.”

CASABLANCA, Morocco: Morocco and Spain are arguing over the right to host the 2030 World Cup final — with besieged FIFA boss Gianni Infantino hovering backstage.

FIFA has yet to officially announce which country will host the biggest match of the biggest event in soccer. And even though the 2026 edition just finished with Spain winning the title this summer, Moroccan and Spanish officials are staking their claim on the next final.

The tussle over the soccer match also comes with Spain still reeling from a massive border crossing by tens of thousands of migrants who pushed through the frontier from Morocco into the north African Spanish enclave in late July.

One big game for two proud countries

The head of Moroccan soccer boasted that his country had it locked up on Thursday.

“The city of Benslimane will host the World Cup final. Hate it or love it, and if anyone wants to talk on top of that, let them talk,” Moroccan federation president Fouzi Lakjaa told a political rally.

“The city is Benslimane, the Hassan II stadium is the stadium, and I hope that Morocco will be playing it,” he added.

This week, the head of the Spanish soccer federation, Rafael Louzán, insisted it was Spain that deserved the game, while acknowledging that it has not been guaranteed that honor.

“We all signed to accept the candidacy … it’s too bad that, regarding the final, it wasn’t made clear, totally clear, where it is to be played,” Louzán said. “Spain, as world champion both in men’s and women’s soccer, must host the final.”

European soccer officials believe that the sprawling, multi-nation 2030 event, which includes Portugal and even a handful of games in South America, should be considered a European event with the final on the continent.

In a request for comment by the Associated Press on Thursday, FIFA said its decision will be made “in due course.”

Infantino has found support in Morocco

The dispute over the final comes with Infantino under intense pressure after UEFA, the umbrella organization of European soccer federations, led a successful revolt to scuttle his plan to sell stakes in the World Cup.

By contrast, six Arab nation federations, including Morocco’s, have backed him since that fiasco.

The King Hassan II Stadium near Casablanca is being built in Benslimane, on the outskirts of Casablanca. It is planned to seat 115,000 spectators. Spain can offer the home stadiums of Real Madrid or Barcelona as potential sites for the final.

Infantino has recently made two trips to Morocco, meeting with King Mohammed VI during annual celebrations of his ascent to the throne in July and then holding a FIFA crisis meeting there in August.

World Cup final spat among other tensions

When confirmed three years ago, the joint candidacy between Spain, Portugal and Morocco looked like a perfect event to bridge Europe and Africa and strengthen bonds between the western Mediterranean neighbors.

But the dispute over the final comes with diplomatic tensions between Madrid and Rabat already frayed over who was responsible when tens of thousands of mostly Moroccans driven by posts on social media pushed into the small Spanish enclave of Ceuta that borders Morocco. Spain’s prime minister said 140 people died in the crossing.

Spain’s government has been under political pressure at home to get tough on Morocco, which it has said acted in good faith in the border crisis. Spanish police assessments couldn’t rule out complicity by Moroccan security forces but said that it was unlikely the Moroccan government had intentionally orchestrated it.

SPICE GIRLS, Girls Aloud and Little Mix are just some of the huge girl groups who have ruled the charts over the years.

Now the next generation is ready to get in on the action.

Step forward Manifest — Turkey’s picture-perfect group, who are taking the world by storm.

Despite being yet to release a single English-language track, the girls already have 7.3million monthly listeners on Spotify alone.

The group is made up of six amazing women: Sueda Uluca, Hilal Yelekci, Lidya Pinar, Mina Solak, Esin Bahat and Zeynep Sude Oktay.

And they have the backing of Dua Lipa, who personally invited them to perform as part of her Sunny Hill music festival in Kosovo earlier this summer, and has tipped them for greatness.

DUA LEAPER

Dua Lipa jumps for joy as she marks 31st birthday in Ibiza on 8th trip of year

TAUT & TANNED

Dua Lipa shows off bronzed body in a bikini as she sunbathes on girls’ trip

They said: “Dua was amazing. We really love her, and meeting with her was like a dream come true. We saw meeting Dua and playing her festival as a step to becoming global stars.

“She gave us some great advice and was keen for us to just remember to enjoy the show.

“She encouraged us to enjoy our time on stage and not worry too much. If we have fun, the fans have fun.”

Each member has their own distinct personality and style, and since being put together on a TV talent contest in Turkey last year, their popularity has skyrocketed.

Keen to take on the world, the girls invited Bizarre’s Jack to Izmir, on Turkey’s Aegean coast, to see them in action at their three-day festival, Manifestival.

He was blown away — not only by the vocals and the sharp choreography but by just how lovely the girls were backstage.

In their first UK interview, the group explained: “We have been manifesting ourselves to be a successful band for years. We have always believed we can do it and make it global.

“We believe people can manifest anything, so when it came to picking a name for us, as soon as someone mentioned Manifest, it stuck.

“We loved it. We didn’t want a name that was too cheesy.”

The group are putting in some serious hours to make themselves stars.

They explained: “We don’t have days off, we have hours. We are so busy, but that’s good. We are constantly in rehearsals.

“It only takes us one day to learn a dance but then we practise it over and over again.

“We want the show to be perfect. Sometimes we will practise a single routine for five days until it’s ready.”

Next month, Manifest will jet to the UK for their first ever headline show on British soil and, boy, are they starting big.

Leapfrogging smaller venues due to demand, they will headline London’s Wembley Arena on October 16.

As well as the gig, the girls are set to take part in a number of promo activities across the capital to show there’s a new band in town.

Admitting they still battle with nerves even though they have “made it” in their home country, the group said: “When we first started to perform, we were really nervous — it almost felt like you were having a heart attack from the nerves.

“But now it’s just excitement. Every time we perform, it’s still so exciting for us. It’s what we love to do.

“We have rituals to calm us down, and we pray to God before we take to the stage.”

In another sign Manifest are attracting all the right attention, they have also landed themselves a Netflix series which will show them on the road and take each member back to their home town.

Setting their sights as high as possible, the girls now hope they can emulate their Girl Power idols.

They added: “We would love to be as big as the Spice Girls; they are our inspiration.

“We have just recorded our first English song, which should be out soon, and we are coming to London.”

Take it from us, there are big things to come from Manifest.

Sam’s on £400m sales

SAM SMITH looked pleased as punch receiving this plaque celebrating the sale of 400million singles worldwide.

The Lay Me Down singer, whose latest album Hazel Eyes came out last month, beamed backstage at the London Coliseum.

Sam played the first show of an eight-night To Be Free residency there on Tuesday, and I’m sure this boost was most welcome before taking to the stage.

An ABBA Fab tribute

IN what I can only describe as the maddest musical mash-up I’ve heard of in a long time, Una Healy, Samantha Mumba, Duncan James and Antony Costa are teaming up for an ABBA extravaganza.

All Stars: The Music Of Abba is a new stage show ­celebrating the Swedish group’s biggest hits.

Across a 21-date tour, The Saturdays star Una, Samantha and the Blue bandmates will form a pop supergroup paying homage to the works of the chart legends, backed by a live band.

Further dates are expected down the line, but they will kick off in Croydon on February 26, before ­taking in shows in cities nationwide including Aberdeen and Edinburgh, Cardiff, Birmingham, Southend, Nottingham and Hull.

Tickets go on pre-sale from 10am today online at allstarsonstage.com.

SHAKIRA’S World Cup anthem Dai Dai with Burna Boy has surpassed one billion views on YouTube and made her the most-viewed female artist on the platform.

The achievement comes ahead of the launch next week of her sold-out 12-night residency at a purpose-built stadium in Madrid.

THE WEEKND has wrapped his 42-date After Hours Til Dawn 2026 tour, grossing £255million after performing in front of more than two million fans.

The gigs gave a massive boost to local economies and raised more than £1.6million in charitable donations for both the United Nations World Food Programme and the Global Citizen project.

Strike a pose Julia

JULIA GARNER is the spitting image of a young Madonna as she vows that the superstar’s biopic will be made.

The Ozark actress sported cropped blonde hair and a feathery gown in the October issue of Elle magazine after being cast in the film, which was canned amid budget rows.

Julia insisted: “I think the movie has to get made. But we’ll see . . .”

She and Vogue singer Madge filmed for Apple TV show The Studio together earlier this year. Their spoof storyline is inspired by the Queen of Pop’s axed film.

Julia said: “She’s one of the funniest people I’ve ever met. Like actually. And people don’t know that.”

Peter’s spaced out in new film role

WHATEVER you think about Peter Andre, it’s safe to say he likes to keep his career varied.

Last year he played a gangster trying to secure his nan’s £35,000 care home fee in comedy film Jafaican.

Now, I’m told the Mysterious Girl singer is about to start work on his next ­production.

Insiders tell me his latest foray into the movie world will be Love In Space, which has a similarly hilarious plot.

It will tell the story of a young man who falls in love with a charming female ­scientist after being abducted by UFOs.

A source said: “Pete just loves acting and if the project feels right and he likes the script, he goes for it.

“This film is really futuristic and Pete will be filming at the end of this month in a ready-made spaceship.”

Popcorn at the ready . . . 

A Biggie break for Swayvo

ANOTHER nepo baby has bagged a major role in Hollywood.

The son of neo-soul pioneers D’Angelo and Angie Stone has been cast as Biggie in the upcoming Snoop Dogg biopic.

Swayvo Twain, whose real name is Michael D’Angelo Archer II, will star in the Universal Pictures movie called Snoop, which is being produced by the rapper himself.

Biggie, also known as Notorious B.I.G., was one of the biggest names in hip-hop in the Nineties and had a mutual appreciation with Snoop, despite the fact they were on either side of the East Coast-West Coast rap rivalry.

Jonathan Daviss will play the main man himself in the flick, which is due to hit cinemas next August.

Nirvana go for a gong

NIRVANA will be honoured with the prestigious Video Vanguard Award at the MTV VMAs on September 27.

The gong is akin to a lifetime achievement award and has been won by Mariah Carey and Rihanna in recent years, with Nirvana being the first band to do so since Duran Duran in 2003.

They only released three albums before frontman Kurt Cobain died, but surviving members Dave Grohl, Krist Novoselic and Pat Smear are being tipped to attend, 34 years after winning the Best New Artist and Best Alternative Video prizes for Smells Like Teen Spirit.

The 2026 ceremony will take place at the Peacock Theater in Los Angeles, with Madonna leading the nominations with 11.

In reach for Adela

WITH just one day of sales left, the battle for No1 is almost over but breakout star Adela is fighting for the top spot.

And it’s not just chart success she is hoping for but world domination, following the release of her brilliant debut album Prima on Friday.

More than a million videos have been made on TikTok using the audio for her single Ain’t In LA.

Now that single is set to enter the Top 20 tomorrow, plus A-lister Nicole Kidman has praised Adela after the Slovak singer named her next track after the actress.

Meanwhile, Adela has revealed her drive to become a pop star in the first place.

Speaking about her favourite Disney Channel show as a youngster, she told Bizarre’s Howell: “Hannah Montana’s where I first saw like, ‘Oh, you can sing and dance for a living and you can be a pop star. This is what that is like’.

“That’s literally where this all first began. For me, it was seeing that show and becoming obsessed with it.”

Of the show’s star Miley Cyrus, she added: “She’s like a mythical creature to me. I don’t think I can actually meet her.”

If Prima manages to clinch the No1 spot from competitors Kasabian, who she is just 332 copies behind, she will be the first solo female to go straight to No1 with her debut album since Olivia Rodrigo’s Sour in 2021.

And judging by Adela’s drive, talent and creativeness on this record, the world is her oyster.