MOLLY-Mae Hague and Tommy Fury have finally revealed the unusual name they have picked for their newborn son.

The couple announced the arrival of their second child on Wednesday evening, sharing a black-and-white family photo alongside the caption: “…and then there were four.”

Influencer Molly, 27, had previously hinted that fans would “hate” the baby’s name.

Tommy finally revealed their son’s name – Midas – during his boxing match with Eddie Hall on Saturday night, sporting it on his jacket in gold writing while walking out to the song Midas Touch.

Tommy also had the name Midas on his black shorts as another tribute to his newborn son.

Molly-Mae was in the audience to support Tommy, despite the fact the match was delayed and didn’t get underway until close to midnight.

READ MORE ON MOLLY-MAE HAGUE

BABY DASH

Tommy Fury flew from training on private jet to join Molly-Mae as she gave birth

MINI MOL

Molly-Mae Hague gives birth as star welcomes second child with boxer Tommy Fury

The choice follows the naming of their daughter Bambi, which sparked criticism online due to its unconventional nature.

In April, Molly revealed the shortlisted baby names she’d ruled out and said their newborn was going to have a distinctive moniker.

She said in a vlog post: “In my opinion, you get one opportunity to name your child something that is going to make them be remembered by,” she said.

“There was so much controversy around Bambi’s name but, thank God, because I wanted to give Bambi a name people are going to remember and that no one else in her classroom was going to have.

“What I’m so triggered by, in my class, there were three Mollys and we were all best friends…

“I really think it’s an opportunity for you to set your kid apart. I think there’ll appreciate it, it’s a conversation starter.”

Giving an indication of the sorts of names she’d been considering, Molly said: “I have loads of girls names I love. I think boys names are a lot harder. I really really love, we won’t be using this, but I do love the name Bunny.

“I actually loved the girl name Goldie, but I feel Goldie now is too used. Goldie was always a top contender for me, even with Bambi.”

Continuing the metallic theme, Silver and Sylvie also made the list.

She continued: “I also love the name Junie for a boy. Junior, TJ — Tommy Junior. It’s not gonna be a Tommy Junior.”

Molly and Tommy shared the birth news yesterday.

Boxer Tommy, Molly and Bambi all gathered around the babe as they lay sleeping on a hospital bed.

Stunning Molly was still in her hospital gown in the picture but she looked utterly overjoyed, beaming down at the baby.

She captioned the post: “…. and then there were 4.”

Molly and Tommy revealed they were set to become parents for a second time in February, when the star was already six months along.

Announcing the news with a sweet video, the star shared a clip of her daughter Bambi with a “big sister” jumper on.

In the black and white montage of clips, Molly-Mae’s bump was seen for the first time as she giggled in the mirror while Tommy placed a supportive hand on her stomach.

She captioned the post: “Soon to be four”.

The pregnancy news came after Tommy and Molly-Mae rekindled their relationship following a shock split in summer 2024.

SAN ANTONIO — Jalen Brunson and the Comeback Knicks did it again. And now they’re the Champion Knicks.

For the first time in 53 years, New York rules the NBA. Brunson scored 45 points, including 13 straight for New York in the fourth quarter, and the Knicks beat the San Antonio Spurs 94-90 in Game 5 of the NBA Finals on Saturday night.

The Knicks won the series 4-1, rallying from double-digit deficits in all four of those victories. The deficit was 16 on Saturday night. Brunson and the Knicks were never fazed.

“I have no words,” Brunson said during the on-court celebration. “It’s everything I ever dreamed of.”

New York guard Jalen Brunson drives in front of San Antonio center Luke Kornet during the second half of the Knicks’ 94-90 win Saturday.

(Darren Abate / Associated Press)

Brunson, fittingly, closed with a flourish. He set a Knicks record for points in a finals game; it had been 38 by Willis Reed against the Lakers in Game 3 of the 1970 series. It now belongs to the left-handed point guard who changed the franchise’s fortunes when he arrived four years ago.

Mikal Bridges and Josh Hart — the other two parts of the “Nova Knicks” trio that also includes Brunson, three players who were NCAA champions at Villanova and teamed up in New York to try to do the same — combined to score 27 points. Bridges had 14, Hart 13.

“I don’t know what I’m feeling,” Brunson said. “I’m in awe. Whenever someone counted us out, we found a way to come back and do something about it.”

New York Knicks center Karl-Anthony Towns, right, hugs forward Og Anunoby after defeating the San Antonio Spurs for the NBA title on Saturday.

(Darren Abate / Associated Press)

Dylan Harper scored 25 for the Spurs, who got 19 points, 14 rebounds and five blocked shots from Victor Wembanyama.

The Knicks improved to 4-0 in closeout opportunities this season, winning them all on the road. It didn’t feel like the road, though — not with thousands of New York faithful having made the trip to Texas to see a moment 53 years in the making.

New York got to the brink of this title by rallying from 29 points down in Game 4 to win 107-106 on OG Anunoby’s tip-in with 1.2 seconds left on Wednesday night. It was the largest comeback in NBA Finals history and the biggest comeback in any game this season, regular season or playoffs.

By comparison, then, a 16-point rally in this one seemed easy.

The game followed the same script in the opening minutes as all the others in the series, with the Spurs taking a double-digit lead in the first quarter and then frittering most of it away in the second quarter.

The Spurs became the first team in the play-by-play era, which started in the 1996-97 season, to lead five finals games by 10 points or more in first quarters.

The Knicks simply could not make a shot, missing on 16 of their first 18 tries and each of their first 11 two-point attempts. There even was a point in the second quarter when Wembanyama had more blocked shots (five) than the Knicks had made shots (four). San Antonio’s lead was as many as 10 in the first quarter, as many as 16 in the second.

Of course, none of it mattered much. As always, the Knicks came back.

New York Knicks fans react in New York after the team’s title-clinching win over the Spurs on Saturday night.

(Heather Khalifa / Associated Press)

A 22-9 run in the second quarter got New York within three, before Devin Vassell scored just before the halftime buzzer to give San Antonio a 42-37 edge at the break.

And that capped an opening 24 minutes of either offensive ineptitude or defensive prowess, depending on perspective. The 79 combined points in the first half were the lowest in a finals game since Game 7 of Lakers-Celtics in 2010, and the combined 31.8% field goals shooting by the Knicks and Spurs was the lowest in the first half of a finals game in the play-by-play era.

Brunson won NCAA crowns twice with Villanova — both in Texas, the 2016 one in Houston and the 2018 one in San Antonio, just a few miles away from the arena that the Spurs call home.

A Texas three-step of titles, and this one was surely the sweetest of all.

June 13 (UPI) — Trump’s name has been completely removed from the John F. Kennedy Center for the Performing Arts, the executive director told the court Saturday.

Executive Director Matt Floca told the court in documents that the name was changed before the extended deadline of noon Saturday, CNN reported. The court had allowed an extension after the center missed the midnight Friday deadline due to thunderstorms, Justice Department attorneys said.

Workers began removing the name from the building early Saturday, and documents confirming the name change were filed around 11 a.m. EDT.

Since December, the center has been named the Donald J. Trump and John F. Kennedy Center for the Performing Arts, after the center’s board, whose members Trump installed, voted to rename the venue.

Trump claimed that naming the center after him was a surprise, but the name was added to the sign the next day.

Rep. Joyce Beatty, D-Ohio, filed a lawsuit on Dec. 23 against Trump and others alleging that renaming the center was illegal.

And on May 29, a judge agreed. U.S. District Judge Christopher Cooper ruled that the center’s board had overstepped its authority when it voted to add Trump’s name to the center.

“Congress gave the Kennedy Center its name, and only Congress can change it,” Cooper said.

On Friday, a court denied the center’s last-minute request to stop the name change while the case gets appealed.

In another indication of the growing military and economic importance of the Arctic, Russia and NATO are increasing their buildup of forces and facilities in the region. Recent media investigations found that Russia is constructing new bases near Finland to eventually house tens of thousands of troops while NATO on Saturday stood up a long-planned new battalion battlegroup. It is a force that will operate in Finland and Sweden as a deterrent against Russia.

TWZ has frequently reported how Russia, and to a lesser extent China, have moved aggressively to assert their presence in the High North, leaving the U.S. and its NATO allies looking to bolster their defenses.

While Russia remains totally bogged down and suffering high attrition in Ukraine with little chance of moving masses of troops to the Arctic at the moment, concern over the future has spurred NATO to bolster its presence along the Finnish border. Having moved to a wartime economy during the full-on conflict with Ukraine, Russia could leverage that in a post-Ukraine war future to threaten NATO’s borders.

A NATO official told us Friday morning that while the alliance assesses that the chances of a near-term conflict are low given the war in Ukraine, “Moscow could seek to expand westward into the Nordic and Baltic nations after a ceasefire with Ukraine.”

Russia appears to be investing in infrastructure in preparation of such a contingency. A joint report by several Nordic and Baltic media outlets published earlier this week has found that Russia is expanding military facilities along its borders with Norway and Finland to accommodate tens of thousands of new troops.

“New satellite images show that Russia is increasing its armament in [the] vicinity,” the report stated. “SVT, together with media partners in several countries, has examined how Russia is preparing for 80,000 soldiers… It is a threat that we should take seriously, says Thomas Nilsson, head of Sweden’s military intelligence service (MUST).”

The images “show new barracks for thousands of soldiers, long lines of military vehicles and ammunition storage,” the report further noted. “All winter, Russia has been building new military structures in several places on the other side of the Finnish border.”

“We expect to have 80,000 soldiers on our border and that can be compared to the fact that we previously had 20,000,” Finnish Army Chief Pasi Välimäki told the joint investigation.

A separate report by the Finnish Yle media outlet found that the Russians are expanding a base in the town of Novaya Vilga to hold as many as 6,000 Russian troops. It is located about 100 miles east of the Finnish border.

“NATO has monitored a buildup of military infrastructure in Russia along NATO’s Eastern Flank, particularly along Finland’s border,” the NATO official told us earlier this week. “The real question is what becomes of the infrastructure? Will, for example, Russian troops now in Ukraine be relocated there after the war? It’s something we certainly need to consider, and we do.”

“That’s why NATO and nations are working to deliver real military capabilities to the alliance now, not five to ten years from now, which is so very, very important,” the official added.

One of those efforts, as we noted earlier in this story, was stood up on Saturday, involving NATO’s two newest members.

NATO’s Forward Land Forces (FLF) Finland began operations in Finland and Sweden, according to the alliance. The FLF will include NATO’s newest multinational battlegroup, led by Sweden, “to support the defense of NATO’s northeastern flank.”

The establishment of FLF Finland places a Swedish battlegroup based in Boden, Sweden, and a Multinational Staff Element in Rovaniemi, Finland, under the command of the Supreme Allied Commander Europe (SACEUR) and NATO.

“Sweden is contributing a battalion battlegroup that, together with a Multinational Staff Element in Rovaniemi, will form the core of FLF Finland,” NATO added. “The Swedish battalion battlegroup is prepositioned in Boden, with capacity to operate in the North Calotte and, where necessary, rapidly reinforce the presence in northern Finland. In 2026, Sweden’s contribution to FLF Finland will total around 600 personnel, with the option to expand to 1,200 personnel if needed.”

“This region is one of the most strategically significant and environmentally challenging areas in the world,” said U.S. Air Force Gen. and SACEUR Alexus G. Grynkewich. “FLF Finland, just like Arctic Sentry, will leverage NATO’s strength to defend our territory and ensure the Arctic and High North remains secure, especially considering Russia’s military activity and China’s growing interest there.”

Activated: NATO Multinational Battlegroup (FLF Finland)

The U.S. too is working to improve its presence and operations in the region. During last month’s SOF Week symposium in Tampa, Florida, the head of U.S. Northern Command (NORTHCOM) announced the formation of Nordic Bridge to “tie together” the work of U.S. European Command, North American Aerospace Defense Command (NORAD) and SACEUR.

Air Force Gen. Gregory Guillot provided no real details about Nordic Bridge at the time, so we reached out to NORTHCOM for additional details.

“The Nordic Bridge concept seeks to enhance Arctic integration between U.S. Northern Command and U.S. European Command and enhance cooperation between NORAD and NATO in order to expand domain awareness, strengthen deterrence, and improve interoperability,” a NORTHCOM spokesperson told us last month. “It envisions increased participation in each other’s training and exercises, increased data sharing (such as air pictures), deconflicting conferences to maximize personnel availability and participation, etc.”

Last month, Guillot visited Grynkewich “to discuss opportunities under this concept,” the NORTHCOM spokesperson told us.

All this is taking place, of course, against the backdrop of President Donald Trump’s frequent insistence that the U.S. subsume Greenland to provide better Arctic protection for the U.S. homeland. The issue reached a fever pitch earlier this year, causing a serious rift with NATO after the president threatened to invade the world’s largest island. You can read more about that in our story about the crisis here.

While there are no indications that the Arctic region is about to break out into open conflict, there are several indications that Russia, NATO and the U.S. are increasing preparations for such an eventuality.

Contact the author: howard@twz.com

There was a time in the beginning of Sublime’s recent revival when Jakob Nowell, the son of the band’s late singer Bradley Nowell, saw himself simply as a good son trying to help his adoptive uncles — drummer Bud Gaugh and bassist Eric Wilson — restart his dad’s iconic Long Beach trio. The goal wasn’t to take the place of his frontman father who died of an overdose in 1996. “I’ll never look at it as my band. Sublime is my dad’s band, and I’m helping out, that’s all,” he told The Times in 2024. Luckily, he was wrong.

The journey of finding his own voice through his father’s sly, shambolic poetry and reggae rock anthems, along with his determination on the road with Gaugh and Wilson through a barrage of festivals and tour dates helped him eventually step into his own as a songwriter and Gen Z rock star. It’s all been done with the mission to preserving his dad’s legacy and having fun while doing it. Now it feels as natural as the trio sitting together on the waterfront in LBC’s shoreline marina within earshot of the bellowing horn of the Queen Mary earlier this year as they were finishing the recording of “Until the Sun Explodes,” the first album under the Sublime moniker in 30 years.

Just like the band’s original recipe of shoving punk, dub reggae, hip-hop and ska into a blender, the new songs dutifully stick to the formula along with Jakob’s soulful caterwauls that sound scarily similar to his dad. But what emerges from the 21-song tracklist is the evolution of a trademark sound that gives a nod to the past while standing strong on its own, just like Jakob, despite coming to the interview on crutches while healing from a performance-related knee injury. The band members chatted with The Times about recapturing the effortless essence of their immortal beach-ready sound and looking forward to a second chance to chase an endless summer.

This interview was edited for length and clarity

It’s kind of a rare thing for all three of you guys to be in one place at the same time. What was it like working in the studio together to finish the new album?

Bud Gaugh: Magical. Things are just coming together. We showed up, Jake had an idea for another song, and he sent us a little demo and said “Hey, this is what I’ve been thinking about.” And then we get down to the studio [in San Pedro], and he’s like, “Oh yeah, so I had another idea,” and kind of changed it. We jumped in there [and by the end of our sessions, we had written] brand new songs to the list of songs that we already had.

The band’s revival has been a long time in the making. I remember when you guys had your first show together, a surprise gig a couple years ago as part of a benefit show for the Bad Brains frontman H.R. Do you feel you’ve come a long way since then?

Eric Wilson: I never thought the chemistry would be like it was with Bradley.

Jakob Nowell: Especially now that we’ve been playing together this long, the chemistry is very much there. We’re just comfortable and having fun. Jamming together is the best. We get in there to do a take for a song, and I’m always like “Let’s just do like three more!” It’s just that much fun, and that’s how it feels playing live too.

When did the idea for creating a new album come about?

Gaugh: It was pretty much just while we were playing shows, At first, the idea was that we were getting together to do this benefit for H.R. [at Teragram Ballroom in December 2023]. We went from “How’s this going to work?” and then [after the show] it was like, “Wow, this is something special. We should definitely go out and play some more shows, and get this music out there and get the opportunity to bring the music to the people in the purest form that we possibly could.” As we’re doing that, it’s like we’re seeing the reaction in the fans, and we were feeling it emotionally. We realized this is going to be bigger than we ever thought. That’s when we really decided where it was going to go.

Jakob Nowell, right, once thought Sublime was only his late father’s band; now, fronting the Long Beach trio, he’s leading a new chapter that still honors Bradley Nowell’s legacy.

(Allen J. Schaben / Los Angeles Times)

Were any of the songs on the new album mined from previously unreleased material or did you start fresh?

Nowell: There was that song we did with Stick Figure [“Feel Like That”], so I think that kind of inspired us. [We realized] “Oh s—, there really is some meat on the bone.” And then I had found some old recordings of stuff that were just like jams without even like vocals or whatever. Then it became just this thing during sound check or maybe in the middle of sets, we’d just start jamming these random progressions and stuff, and it kind of just evolved from there naturally.

The new songs that I’ve heard fit right in the vein of what people love about Sublime. What was it like putting some of those new songs in the setlist as you were building them?

Nowell: It was like magic. We were joking yesterday that sometimes we’ll play a new song for the first time just randomly and I’d see people try mouthing the lyrics and stuff and I’ll say “you’ve never even heard this before! I know you haven’t. We don’t even really know what the hell we’re saying.”

Gaugh: You frontin’! [Laughs]

Nowell: But [the new material] sounded like it was supposed to be there, so it was kind of a rad little test in a lot of ways. We almost don’t even have to think about it. That’s always going to be the guiding goal of any band trying to make fun music that’s relatable.

Wilson: What if you’re Slayer? That’s not true if you’re Slayer.

Jakob, it seems like you’ve gotten a lot more comfortable in the frontman role since joining the band. What’s it like just taking the lead, not just for the sake of your dad, but for the fans?

Nowell: Oh, dude, it’s the best. I don’t even have to think about it. We really feel like this is — we’re a band, you know?

Gaugh: It’s [Jakob’s] band too. Now it’s our band. It’s us.

Nowell: It feels like that whenever we’re hanging out, just doing stuff, or at the studio or at these shows. So, this upcoming year feels like a really rad adventure. We got all these different eras [of fans] — people who were in their 50s when [Sublime’s] first stuff dropped, who are still alive, and then their kids and their grandkids and great grandkids. Everybody finds a piece of the discography they can relate to. That’s what is most exciting. It’s not just one or two songs, people sing along to everything.

I was at Warped Tour in Long Beach last year when you guys played and —

Nowell: That was my favorite set!

To me that felt like it encapsulated what you were talking about with the multigenerational groups of fans that have enjoyed you guys and associate you with Long Beach.

Gaugh: It was like a homecoming for me. I remembered playing the Chili Cook off, you know, right over there in the same area [as Warped Tour], and it was just bringing me back 30 years. It’s so meaningful to be in our backyard playing our music again, right there. This is where it all started. It’s come full circle.

Nowell: It was like playing at a local bar in a cool way. I had this huge group of people up front, they were just talking and shouting and saying stuff, like f–ing with us and joking around. I was like “Damn this is great!”

How about you, Eric? How’d you feel playing Warped?

Wilson: [Mumbles] It was f–ing awesome.

Now that you’ve played all these festival shows, from Coachella to No Values, you’ve got your own festival going on. Can you talk a little bit about Sublime Fest and your Sublime Reef Madness Cruise and how you came up with it?

Nowell: We could put on a bunch of the bands we love, and some of our boys, like Vandals, and make it our own vibe.

Gaugh: You walk around Coachella and there’s so many different elements there. Wouldn’t it be neat if we could make like all this like a Long Beach element, a Sublime element. Looking at this thing, it’s like “Oh wow. So we can actually get some of our friends and set up like a tattoo booth, and have our idea of art and everything out there, and mix it all together — food, art, music — bringing all these different elements, and friends of ours that play music. We get to decide who’s going to share the stage with us, so it’s really neat. It’s like planning a high school party or something like that.

Nowell: The biggest backyard party ever seen.

You guys always had your own sound going on, what’s it like to see that the fans still want it?

Wilson: It took a lotta years to catch on, but it did.

Nowell: Yeah, the kids really want that, like ‘90s, Y2K kind of vibe. That was the last era of like cool authenticity and stuff. You can see it when young people make stuff to look retro … when things get so high fidelity, we’re almost losing a little element, so I think these festivals kind of seek to bring some of that back in a way that everybody can get into.

With “Until the Sun Explodes,” Sublime’s first album in three decades, Jakob Nowell, Bud Gaugh and Eric Wilson rediscover their studio chemistry, jamming new songs that feel instantly familiar onstage.

(Allen J. Schaben / Los Angeles Times)

You guys also have the timeless iconography of the Sublime sun logo. The title of the album is “Until the Sun Explodes.” Does that title have any particular meaning to you?

Nowell: It’s almost just another way of saying “forever,” like “Oh baby I’m gonna love you till the sun blows up.” That’s gonna happen in billions of years, if at all. The fact that [Sublime’s] lasted this long and has this many fans is evidence to me that we wanna be here forever. I think that’s what everybody wants for themselves.

Jake, you’ve taken steps to advance your own aspirations and music with your label, Sunburnt Records, how does that fit into where Sublime is right now?

I was inspired by the whole Skunk Records thing [Sublime’s first label], Evan Zinger with [his lifestyle brand] SRH, and just all the local brands I grew up with when I was a kid. So just trying to do a cool, chill local thing that has that vibe of putting on small shows and kind of getting to use this new notoriety to be like, man, I have so many friends in these small bands like Strange Case and Eight Ball, and other bands up and down Southern California. Let’s put on shows and sneak them on a Sunburnt Stage at [Sublime Fest] and if people really like that Sublime sound here’s a bunch of kids who are carrying the torch like Slightly Stoopid did when they started out. Mike Watt always said “start your own band!” So the more we can inspire people to do that and be some small part of that, it’s a dream come true.

Do you feel like this version of Sublime is something Brad would be proud of?

Gaugh: We all kind of brought our own element to the music orignally. So we just kind of followed that recipe. Jake’s his own person, he’s got his own influences, and we just kind of stick with that idea. Jake brings in his feelings, and Eric brings in his and we sat there and recorded this song, and then as we were recording it, we’re coming up with ideas. It’s like, “Oh wait, we should do this here, slow that down there, stop here,” it’s all a conglomeration of ideas, everyone does their part, brings in their own spices and we mix it in a pot like gumbo.

Cameron Brink said she’d appreciate some grace. She really would.

Sparks fans should give her some, because where else is she going to get it?

Certainly not from WNBA refs. Not from opponents with more to play for than ever. Certainly not from the game itself; basketball moves fast, and a bummer can become a bust in a blink.

But Brink, 24, is not on the brink of bust territory, no. Block that thought. Technically, it’s Year 3, but after a torn ACL derailed her as a rookie two summers ago, it’s practically like Year 2 for the former Stanford star. And by design, the WNBA is testing her confidence, her decision-making and her patience as she tries to reestablish herself as one of the WNBA’s best young players.

So, grace.

The recognizable 6-foot-4 forward — she’s the long-blond-haired hooper in the New Balance ads — was the No. 2 overall pick in 2024.

Now she’s her team’s No. 3 option in the post. She’s coming off the bench behind Nneka Ogwumike and Dearica Hamby for the Sparks, who are a modest 6-6 after wins this week over the expansion Portland Fire and the struggling Seattle Storm.

Against the Fire, Brink scored two points and picked up four fouls in nine minutes. Then she went to Seattle and had 15 points in 18 minutes but was pulled with more than five minutes left in the fourth quarter after getting her third, fourth and fifth fouls in 86 seconds. (WNBA players get six fouls before being disqualified.)

For the season, Brink has been called for 49 fouls in 208 minutes. A foul about every four minutes!

They’re silly fouls and they’re phantom calls. Egregious and ticky-tack. Costly and common. A real fouled-up buffet. She sets screens that get scrutinized as if by the most vigilant TSA agent. And sometimes, yes, she’s doing the accidental tripping. Other times, the officials are.

Her reputation precedes her, so everyone gets a superstar’s whistle when being defended by Brink. Opponents bake it into their game plans.

That can’t continue.

All that fouling is hindering Brink’s development because it’s robbing her of important in-game reps — which she needs, foremost, to figure out how to stop fouling.

Sparks forward Cameron Brink, left, blocks the shot of the Tempo’s Laura Juskaite during a game last month.

(Jeff Lewis / Associated Press)

“At the pro level,” said Tara VanDerveer, Brink’s coach at Stanford, “every young player always has a lot of work to do. And I saw her make a three. I see her block shots. She rebounds, she can handle the ball, she’s unselfish, she’s a terrific talent. But there’s always things players need to work on.”

We know what Brink’s thing is.

“She has to be disciplined,” VanDerveer said. “And if you want something so badly, if you want to be an All-Star someday or make the Olympic team, you’ve got to be dependable … and I think anyone can change, if it’s behavior they recognize is not in their best interests or not in their team’s best interests. It’s hard, but it’s something I think people can do.

“That’s what Cam is working on.”

And, VanDerveer added, “I’m really so excited that Nneka is there, because she will give her such great guidance and mentorship.”

And grace. Brink is getting that from Ogwumike — also a former Stanford star, the Sparks legend returned to L.A. this season after two seasons in Seattle — and her other teammates.

“I just do my best to lead by example,” Ogwumike, 35, said. “But then also let [Brink] know that she’s very capable, that she’s more than capable, which is exactly why she’s here with us and it’s exactly why we need her on this team.”

Sparks forward Cameron Brink, wearing a facemask, controls the ball while defended by Sun forward Raegan Beers.

(Joe Buglewicz / Getty Images)

But how long will Brink get grace from the Sparks in the what-have-you-done-for-me-lately business of basketball?

The foul trouble tells us why a win-now team wouldn’t trust her, why the Sparks would give meaningful minutes to two veteran post players ahead of her. Why they wouldn’t prioritize Brink’s development alongside winning as they strive to snap a previously unthinkable five-year playoff drought.

And what about fans? How patient will you all be with a player who was drafted immediately after Caitlin Clark and five spots in front of Angel Reese?

These days, that might depend on what the parlay calls for.

Or, preferably, whether you remember Brink’s first 15 WNBA games. All starts, all signs pointing to stardom. She showed up in 2024 throwing lavish block parties. Her 2.3 blocks per game were message-sending spikes, like what Lisa Leslie used to enthrall Sparks crowds with.

From the jump, she had guys coming to games at Crypto.com Arena wearing her No. 22 jersey and little girls arriving in groups with No. 22 painted on their cheeks and “I love Cam Brink” signs in hand.

And then the torn ACL cost her 25 games of her rookie season and another 25 last season, plus her spot on the United States’ Olympic 3×3 women’s basketball team in Paris in 2024.

She had to start over. Lost a lot of ground. But you see that masked woman stuck on the Sparks’ bench for all but 17 minutes per game?

You can’t miss her. She’s looking uncomfortable in protective facial gear that either hinders her breathing or her peripheral vision, her only options to protect the torn septum she suffered in a victory over the Las Vegas Aces last month.

She’s the one with the 6-8 wingspan who’s averaging 9.2 points, 4.3 rebounds and 1.5 blocks while shooting 52.1% from the field in her limited minutes.

She’s still Cameron Brink. Between fouls, she’s fluid and fast and covers more of the court than almost anyone in the WNBA, able to leap from defending guards to centers in a single bound.

“It’s just looking at every day as a new opportunity to learn and grow and not getting too bogged down when things don’t go exactly as you planned,” Brink told me. “Because more times than not, things are not going to go how you want them to. And that’s life. So I just want to be able to put my best effort out there every single night.

She knows what the Sparks need from her: “To perform, just come on the floor and compete.”

To prove she can stay on the floor to compete.

June 13 (UPI) — Reality TV star-turned-Los Angeles mayoral candidate Spencer Pratt says he does not expect to advance to the general election after projections from primary voting suggest he will rank third behind incumbent Karen Bass and challenger Nithya Raman.

The Hills alum ran on a platform of making the city’s streets cleaner and safer, and speeding up the rebuilding of homes and businesses destroyed by wildfires in the Pacific Palisades more than a year ago.

Pratt, who lost his home in the blaze, released a 3-minute video Friday, stating the “campaign portion of my mission to save Los Angeles is coming to a close and I’m moving on to the next, more interesting phase.”

The spot already has gotten more than 8.6 million views on X.

It appears to be a mix of real and AI-generated footage, as well as movie clips.

In the video, Pratt said he plans to keep fighting to improve the lives of Los Angeles residents using the national social media following he has amassed in recent months.

He added that he has evidence that could damage one of the candidates as they head to the general election in November.

“We have some recordings of one of your exalted candidates doing and saying something that would make her resign in shame. I was saving it for the general election,” Pratt said.

“So, Karen, Nithya, ask yourself, ‘Is it possible that one of your employees may have a recording of you doing or saying something that would force you to resign in disgrace?’ Hope you sleep well at night over the next five months.”

The Los Angeles Times said the Bass and Raman campaigns have declined to comment on Pratt’s remarks.

According to the votes tallied Bass is in first place with 34 percent of the vote, Raman earned 29 percent and Pratt scored 26 percent.

If Pratt had won, he would have been the first Republican mayor of Los Angeles since Richard Riordan served two terms, ending in 2001.

In this week’s episode of The Envelope podcast, Riz Ahmed talks about drawing on his own experience for “Bait,” his Prime Video series about a British Muslim actor whose life is upended when he’s rumored to be the next James Bond.

Kelvin Washington: Hello, everyone, and welcome to the next episode of The Envelope. Kelvin Washington, Yvonne Villarreal, we have Mark Olsen. And Mark, I’ll stay with you for a second. You had a chance to speak with Riz Ahmed, who is the creator and the star of “Bait,” which centers around the idea of who could be the next James Bond. So then, dang it, I’m asking you two the same question: Who could be, should be the next James Bond? Is there somebody or somebodies that you’ve thought about for a while and said, “Well, that would fit, that could work”?

Mark Olsen: It was recently announced that they have begun the casting process to replace Daniel Craig in the beloved and long-running James Bond franchise. And there have already been at least one sort of confirmed person, the actor Tom Francis, auditioned. But then there’s a lot of other names being thrown around, like Callum Turner, Jacob Elordi, Aaron Taylor-Johnson. Kind of everybody about that age bracket you could think of. You know, it’s funny, in the last movie, “No Time to Die,” Lashana Lynch was given the number 007, so she was not James Bond, but she was 007. And I always thought, actually, in the last couple of movies, that Léa Seydoux would make a perfect [00 agent] — she’s cool, she feels kind of dangerous. She would have seemed to me like a great person for that kind of role. But then also, that’s obviously not James Bond. So who knows who it could be. Yvonne, what do you think? Do you have anybody in mind?

Yvonne Villarreal: Can it be a toss-up between you two? How would you fare?

Olsen: I don’t know if I’d pass basic training.

Washington: They have doubles, OK? They got stunt doubles and CGI and AI for all of that and for you, OK.

Villarreal: It’d be like the Leslie Nielsen version.

Washington So it’d be like 007 with a question mark: 007?

Villarreal: More seriously — not that I don’t take you two seriously as candidates — I would throw my enthusiasm around Jonathan Bailey or Damson Idris.

Washington: I’m gonna one-up your Idris and just go [with] the obvious, Idris Elba. It’s been sitting there for the last 15 years or so.

Villarreal: That’s why I didn’t [say that], because I’m like, “It’s been sitting there and they still haven’t.”

Washington: But sometimes it just makes sense. Sometimes it’s just sitting smacking you in the face, or shooting you with a silent 9mm — whatever he uses, James Bond. It just makes sense, and to be honest, it’s one of those, he’s probably passing [on the role] because you wanna have a franchise you can hold on to for 20 years with a particular actor, give or take, and he seems like he’d be probably too senior for that at a certain point. The podcast, the conversation behind what really happened there is going to be fascinating because, to your point, it just seems like the momentum was building for it and it didn’t happen. So it would be interesting to hear what actually comes out of that. But those are my are my guesses right there.

All right, Mark, you had a chance to speak with Riz Ahmed, obviously the creator and the star of “Bait.” Fascinating to me, just the concept of the show as a whole.

Olsen: Riz Ahmed is someone who, he’s so thoughtful about his own career, but also his place in the world. And so he does such a great job with this show and taking this idea of like, “Could an actor like Riz Ahmed, could he be James Bond? Should he be James Bond? Why not?” And so the show is just so thoughtful and finds all these really inventive ways of exploring that idea. He’s playing a little-known actor who it becomes public that he’s auditioned for the role and that throws his whole life into tumult both within the industry, with sort of like online hate towards him, but then also with his own family. And the show is also meant to be kind of a real love letter to the South Asian communities of London. Riz in the conversation talks about how they went out of their way to shoot in parts of London that you don’t normally see. So the show, it’s just so inventive and fun in a lot of really terrific ways.

Washington: Well, let’s hear more of your conversation with Riz now.

Riz Ahmed.

(Christina House / Los Angeles Times)

Mark Olsen: On the show, you play an actor who auditions for the part of James Bond. It leaks to the press, and then his whole world turns upside down. For you, is the premise of the show predicated on the idea that someone like you would never get that part, or is it that, of course you should get that? Which end of the telescope are you looking at it from?

Riz Ahmed: Kind of neither, really. The premise of the show was something a bit more emotional than that. The James Bond thing came right at the end, to be honest, of the creative process. Really, the heart of the show is the idea of auditioning. James Bond really serves as a symbol in the show, a symbol of aspiration, pinnacle of achievement in this industry and also of alpha masculinity and all this kind of stuff. And so it’s really the idea of trying to be that guy, which on some level, we’re all trying to be this kind of preferred version of ourselves, right? We’re all performing. We’re actually all always auditioning. So it’s about that feeling, [which] I think extends outside this industry. We’re doing that on LinkedIn or social media, on this podcast right now. We’re performing a version of ourselves. When actually the true version of ourselves is kind of messy, chaotic and vulnerable. So it’s that distance between the public and private self that I was really interested in, and James Bond just served as an aspirational symbol of that public way that you would love to be seen.

Olsen: But Bond, because of the specific cultural baggage that comes with that franchise, did you feel like it fit thematically with what you were trying to do?

Ahmed: Oh, perfectly. It was a godsend. It was like one of those moments where it’s like, “OK, so we want to do something about, like, aspiring to be anything but yourself. We want to do something about feeling like life is one big audition, but we need something that encapsulates success and cultural acceptance.” And it was like … Of course: Bond. And because the process of making this show was one of pulling so much from my own personal life, there was a moment or two when my name was mentioned in that conversation. I mean, along with, you know, everyone and their dog. But it was an interesting kind of thought experiment, it was an interesting, as I said, kind of vessel to place all of the themes into. And so when that idea came about, it was like, “This is perfect. We can talk about everything we want to talk about using this symbol.” We’re like, “OK, now how are we gonna get it?” And everyone told us Barbara Broccoli would never let us use it. Rightly so, she was very protective of this IP. But I wrote her a letter, sat down with her, showed her the scripts and she understood. She understood that it’s not really about Bond. It’s a show about self-love, and she really kind of vibed with that. Shout out Barbara Broccoli, thank you for letting us use Bond exactly how we wanted to.

Olsen: You recently hosted the new “SNL UK” and in your monologue, you made this joke that you don’t just play intense roles, that there’s this image of you that it’s all that you do. Did you purposely want to make “Bait” as a way to break you out of that perception?

Ahmed: It wasn’t that careerist and calculating, to be honest. I was just trying to make something that was authentically me. And I think the people who know me know that I’m a lover of comedy. My first rap song was a comedy rap song. I got banned on British radio back in the day because it was a quite an acerbic kind of satire. And actually it’s funny because I think that’s an American perception of me. In the UK, nine times out of 10, when I get stopped is for a British comedy I did called “Four Lions.” Which is like a kind of cult classic British movie. It’s a very British comedy. That’s like me, that’s like how I am in real life. And so when I wanted to make my own show, it just stands to reason it would be a reflection of my taste. So the overall frame was comedy, but I kind of have quite a maximalist sensibility. I want to have my cake and eat it. So I also wanted it to be a spy thriller and a family drama and quite surreal and psychological thriller and all of these elements kind of put together, but the frame of it all, I would say, is comedy. And yet it was really actually important to us that we tried to defy genre and defy categorization in that way.

Olsen: Did you feel like this was a role that, like, nobody was going to give you, like you had to write this for yourself?

Ahmed: It wasn’t so much out of a kind of frustration or a desire to create work for myself or break out of a pigeonhole or anything like that. Honestly, I just tried to make something as honest and authentic and vulnerable as possible, if that doesn’t sound too eye-rolly. I guess I reached a point in my life as a creative where I realized, actually, performance isn’t about putting on the mask, it’s about taking it off. It’s about sharing with the world who you are, sharing your privacy and your insanity. And if you do that, people will connect with it because it’s honest. And if you name your pain and your craziness, there’s something healing in that for yourself and others. I had kind of gotten to that place in my life. And so I wanted to kind of follow that through to a place that felt quite scary and pull on the most personal aspects of my own neuroses and my life and my neighborhood that I grew up in — so many locations are literally where I’ve grown up. So many moments in the show I pulled very directly from my life experience. My character has a panic attack at the end of Episode 1 at this particular music venue in North London. I had a panic attack in that venue in North London when I was supporting Wu-Tang Clan. My character is approached by MI5 and MI6. They say, “Hey, you’re a rising actor, do you wanna work with us, help with messaging?” That happened to me specifically once I started to become a bit more well known. There’s just so many things that kind of came from that place, and it was all based on this idea of like, “If I wanna make a show about a character who needs to learn how to take off the mask, then I need to do that as well.” And we kind of had a mantra in the room, which was like, “If it feels scary and it’s true, do it.” And there were times when I didn’t want to do it, definitely times when I wanted to kind of hide, but I just increasingly have this feeling that if you can offer up a part of yourself, then that’s one of the most liberating things you can do as an artist. And also for an audience, it just feels honest. That’s where you can connect most with people, if you’re willing to share that vulnerability.

Olsen: What was the writing process of the show like for you? Was there a moment where you had like a whiteboard with a list of awkward things that had happened to you?

Ahmed: That whiteboard would be very, very big, very, very large. Let’s say we’ve got a lot left in the tank if we ever do another season. The writing process was a learning curve for me, never having been in an American writers’ room system before. Hugely grateful to my co-showrunner, Ben Karlin, who’s got himself a really eclectic background. He’s one of the founding writers of the Onion, the satirical website. He has this track record, “The Daily Show With Jon Stewart” and “The Colbert Report,” but also “Modern Family.” And so I wanted someone who had that eclectic background, and we had a writers’ room that was similarly very eclectic. We had stand-up comedians. We had novelists. We had playwrights. We had experienced TV writers. We had U.S. [people], we had UK people. I just knew that I wanted this to feel quite eclectic, and as I say, kind of genre-bending. And so I wanted that breadth. So actually the writing process for this was like, “How do we make this feel as chaotic and messy and unpredictable as possible?” That requires a crazy amount of craft. And there were a lot of late nights, there was a lot of hair being pulled out. And it was, I think, one of the most intense periods, more so than the shoot, even. It was just trying to figure out what this show was. And I came to this realization, which is, Shah Latif, my character, is having an identity crisis. He’s trying to work out who he is. So it stands to reason the show should also be trying to work out what it is. The show needs to be having an identity crisis. So then we gave up on this mission of trying to make it feel coherent and consistent. And we said, “Of course, he’s an actor trying to work out who he is. Every episode should be a different genre. We should have our James Bond-goes-to-the-gala-in-a-tux episode. We should to have our Bollywood-proper episode. We should have our Linklater walk and talk. We should have our Greengrass does a spy thriller.” So we really deliberately and really defiantly tried to embrace the identity crisis of the character in how we told the story. And when we did that, everything fell into place. We would stop trying to straitjacket this into something more predictable.

Olsen: And what was it like for you to be filling this role of not just actor but also writer, producer, showrunner? How did you feel about taking on all those roles?

Ahmed: I felt scared. I felt out of my depth. I felt like I needed the help of people much smarter than me. Luckily, I had that help. And more than that help, their patience. I continually said, “No, we’ve got to go back and do it again. We’ve got to rewrite that episode. We’ve gotta redo this whole section,” as it felt so personal to me. Not just because it’s my personal experiences, but because there’s a world that hasn’t quite been put on screen before in this show, and I felt a tremendous sense of responsibility and emotional connection to that world and these characters. So at times it felt overwhelming. ButI’m of this philosophy that usually when you’re making something, you kind of end up feeling how the character is feeling. The character feels out of his depth, feels overwhelmed, feels like he does not quite know what he’s doing, it stands to reason I should feel like that. If I really feel like I’ve got it all worked out and I’m in control, we’re doing something wrong. So as far as possible, I tried to remind myself that that was a sign of almost being in touch with the material. At least that’s how I tried to talk myself off the ledge, man.

Olsen: Can you just talk to me a little bit about the title? As I understand it, “Bait” is UK slang?

Ahmed: The title actually has many different layers to it. I always say this is a show that’s hard to sum up in a sentence, but it’s really easy to sum up in one word, and that word is bait, because it has like five or six different meanings. So one key meaning is British slang. It means really blatant and in your face. So if you’re blowing up someone’s spot, you’re baiting them up. You’re being really kind of, “Look at me, look at me,” you’re being bait. So that speaks to Shah Latif, the character, and his attention seeking. But bait also means, online, trolling. It also means, in Urdu, your loyalty or your allegiance. It also mean in Arabic, in Hebrew, home. And it also, in literal meaning, it’s something used as part of a trap, which speaks to the spy thriller element to the show. So all these different layers to the word bait correspond to a different layer of show, correspond to each different episode. That’s exploring that meaning. And I wish I could tell you we had this all worked out upfront, but we struggled with the title for so long and it kind of like hiccuped itself up into the ether in a late-night kind of hair-pulling session. We realized, “Oh, my God, that’s it. That’s exactly what it should be.” So yeah, the title I think encapsulates how we’re trying to explore these different genres and all the different narrative threads in the show.

Olsen: All the things that your character of Shah Latif is going through trying to move forward in his career as an actor, remaining true to his community and his sense of self, how much of those are your own issues? Are there things that you feel like you’re on the other side of now? Are those things that you’re sort of constantly trying to figure out for yourself?

Ahmed: Of course, like this idea of searching for your identity in a world that either commodifies it or punishes it, that’s something I relate to. But I also kind of feel like that’s something we all relate to. There’s a lot of me in Shah Latif, but I actually think there’s a lot of Shah Latif in all of us. This idea of feeling as though you’re not enough. This idea of trying to cultivate a public version of yourself because you’re ashamed of the private version of your self. I think that’s such a universal feeling right now in this performative culture that we live in. We all wanna be looked at, but we don’t wanna be seen. And somebody once told me that the distance between your public and private self is the amount of shame that you carry. I think it’s true, more or less. I’m not saying you shouldn’t have a private life and some things shouldn’t be kept private. It probably should. But in a kind of deeper sense, I think there’s a truth in that. So I wanted to make a comedy in this playground of shame because it’s something that I can relate to, but I just had a sense that this is a very universal feeling.

Olsen: How much of these are issues or things you were going through in your career maybe five years ago, 10 years ago? What are the the sort of top-line things that you feel like you’re struggling with now?

Ahmed: This is where it becomes a full-blown therapy session. I would say that there was a period of time when I was just really desperate to be in the room. And now I’m in a place where I’m really excited to try and build my own room. And that, in a way, is a journey that the character goes on. I think it’s a journey that I’ve gone on, and the show, in a way, is a culmination of that journey. You know, it was just such a privilege to be able to create a playground and bring together this kind of ensemble. I don’t think there’s ever quite been a brown ensemble like this on screen before and [to] showcase all that talent and create that sense of family and specificity. And yeah, as I said, kind of build my own room rather than asking for a seat at someone else’s table. So I think that journey is one that I’ve been on and one that, I think, the show is exploring.

Olsen: There are these title cards throughout the series that give you these neighborhoods and locations, and I don’t know London super well, but like, it feels like it’s a very specific version of London. What was the importance of those locations for you?

Ahmed: The shows that I really adore and the ones that really inspired me on this journey are ones that are unapologetically specific. The Holy Trinity in my mind was “Atlanta,” “I May Destroy You” and “Fleabag.” These half-hour shows that are super personal, but also super specific in the world they’re exploring, whether they’re a city like Atlanta or a certain kind of Black London, or a very particular kind of white, middle-class British family in “Fleabag.” And so I wanted that unapologetic specificity. I wanted it to be a love letter to my London. And so I wanted to shout out these neighborhoods that really mean something to me. But more than that, I wanted to give a nod to the spy genre with those title cards. You know, in a Bond movie it says like, “Somewhere in the Caribbean,” you know, “Mexico City.” I wanted do that with Kentish Town, with Brick Lane, with Wembley. I wanted to elevate our daily experience and those neighborhoods to that kind of grand stage and those epic stakes and say, “Actually, this is as magical, as important, as exotic, as thrilling as any of those locations within that kind of genre.” Jordan Peele, when he made “Get Out,” said, “Being Black in America is like living in a horror movie. That’s why I made ‘Get Out.’” I can add this thesis that being brown in the West is like being in a spy thriller. And that’s why we made this. So I wanted those neighborhoods to feel like those chyrons you have in a spy thriller.

Olsen: You’ve often mentioned in the past, it’s a phrase I’m very taken with, “stretching culture,” expanding the idea of what’s possible. And I’m just curious, like, how is that going for you?

Ahmed: There’s the idea that the universe is expanding in all directions at the same time. I feel like that with culture. I feel like things are getting crazier and better at the same time simultaneously at an accelerating pace. You know, that’s kind of how I feel about it. And it’s like our consciousness, right? You get a little bit crazier, even as you get smarter. It’s that kind of feeling. For whatever it’s worth, it may sound pretentious, but I kind of feel it’s important to try and anchor myself in some sense of purpose. And I think that’s the purpose of storytelling, is to kind of constantly expand horizons of who is considered human and what is considered human. And I think for me, at least in this moment in my journey, I want that to be about telling stories that haven’t been told before, portraying worlds and communities and characters that maybe we haven’t been that familiar with.

Olsen: You’ve expressed some frustration recently with the phrase “representation” — that it’s become kind of a hollow gesture. What would you like to see happen moving forward?

Ahmed: Well, I was really proud to be part of the conversation, when we were kind of collectively coining that term, right, going from diversity to representation. But I do think it’s not an end in itself. Like I said, being in the room doesn’t necessarily change anything. It’s what are you allowed to do in that room? Does the room change you, or do you change it? It’s what the show’s exploring. And so at least for me right now, the kind of representation I’m interested in is how authentically we can represent ourselves. Do you know what I mean? Like, do I have to code switch? Do I have put on a mask or do I get to take it off? That to me is, I think, the most exciting kind of knot to unpick right now. And as I said, that’s kind of at the heart of the show.

Olsen: I want to be sure to ask you about some of the other cast on the show, specifically Guz Khan. I feel like I could watch the two of you just driving around in a car together for hours.

Ahmed: I’ll send you the rushes.

Olsen: Did you two have an immediate chemistry?

Ahmed: Can I tell you, the story of me and Guz is its own bizarre bromance. Here’s how I thought I knew Guz. Guz went viral in the UK because he did a joke, kind of like [a] shout-out against Steven Spielberg, right? Because there’s a kind of dinosaur in his “Jurassic Park” reboot that sounds like a racial slur in the UK. I’m just gonna let people check it out for themselves. I’m not gonna say more than that. This is like 10 years ago, something like that. He goes viral, he starts blowing up, people start offering him his own TV show. He DMs me on Twitter and he’s like, “Bro, like, what’s the industry like? Is it like crazy Illuminati vibes?” I was like, “Yes, but the Illuminatis are actually very fun, come and join us.” And just started this banter with him, and he goes on his journey, becomes one of the most beloved comedians. I’m on set with him, shooting “Bait.” And he goes, “You don’t remember the first time we met and we spoke, do you?” I said, “I remember, you DM’d me like a crazy guy.” And he was like, “No, no. We met 20 years ago.” I was like, “What are you talking about?” I was doing a spoken-word performance in the Midlands in the UK. No one was coming to see it. It was a completely empty club. So I take it upon myself to go outside and start flyering passers-by. Down a dark alley, I see guys with some of his friends engaged in a business of some sort. His legal team have asked me to refer to it as “selling tulips.” They were selling tulips, OK? I go down to this alleyway, I hand him flyers, him and his friends. I’m like, “How are you doing there, gentlemen? Would you like to come and see me do some spoken word?” They’re like, “What the hell? We’re in their mid-tulip transaction.” He decides out of the kindness of his heart with his boys to come and watch me do spoken word at Coventry Student Union. And he said it was the first time he saw someone that looked like him doing something like that in a space like that. … Twenty years later, we’re on set together. We met when we were like 20 years old and I’d completely forgotten him, but he remembered. We have like a brotherhood and a friendship in real life. I wrote that role for him. He is someone who constantly reminds me that as an artist, your art can only be as expansive as your heart is. He’s just that guy on set you want to be around. He brings the positive energy, he reminds you this is meant to be fun. And actually, when you’re having fun, you’re feeling relaxed and loose, you do great work. He’s evidence of that. And so I just have so much love for him, but I would only say that because he’s not here. If he was here, I would be making fun of him aggressively.

Olsen: Now that to me seems like this notion of stretching culture, where you’ve had this influence on him that you kind of didn’t even know.

Ahmed: I would love it if he would say that publicly, rather than me having to tell the world that I’m responsible for his career. Thank you for saying it. If we can clip that bit, that would be great. Send it to Guz, yeah? Email that to him. I don’t know, man. I kind of feel like we’re all in this relay race, right, and we’re just fumbling the ball to one another and trying to move forward. And one of the great things about this show was being in community in that way. I think for some people, particularly in the UK, they’re familiar with the world that’s portrayed here. I think, for a lot of Americans, they’re really not. Interestingly, I’ve had a lot of Latin viewers and Latina viewers approach me saying, “That’s my family, I get that, I know what that is.” And so I don’t know, I just think it’s kind of exciting. One of the things I love most about storytelling on screen is we can bring people into worlds they haven’t been to before. That’s what I remember falling in love with when I watched “Goodfellas” and “Mean Streets” in that world that Scorsese creates. So yeah, I think as long as we’re all leaning into this specificity, doing so in community, maybe that’s how we get to stretch culture.

Olsen: In a recent profile on you, the actor Sandra Hüller, who you work with on the upcoming movie “Digger,” she said that one of the things she most admires about you is that you take yourself and your work seriously. And I think I feel the same way, like there’s an intentionality to what you do, there’s a sense of purpose to what do.

Ahmed: It sounds so boring, though, when you put it like that. Doesn’t it? I hope I don’t take myself too seriously. I guess I take it seriously that I’ve got this opportunity to try and tell stories, and I believe that they matter. But I actually hope I don’t take myself seriously, very seriously. I hope this show in a way is evidence of that. That’s Exhibit A. Yeah, you got Hüller’s testimony here and then you got “Bait” over here. Who do you believe?

Olsen: Is there anything you can tell me about “Digger”? It’s a new film from Alejandro González Iñárritu, it stars Tom Cruise, and it has quickly become, I think, one of the most anticipated movies of the year. People are very excited about it. And there’s very little known about it, is there anything you can say about it?

Ahmed: It’s funny you should say that because I spoke to Alejandro today and he gave me permission to reveal something exclusively to you on this podcast. No, not really. There’s nothing. Absolutely nothing. I actually might get assassinated for just saying that even.

Olsen: And have you seen it?

Ahmed: I feel like anything I say, there’s like a bomb on my leg that might go off. I’ll say this, it was a really unique and incredible experience. Alejandro is this crazy genius and being around that level of — Tom Cruise as well — they’re all obsessive perfectionists that have just like endless rocket fuel in them. It’s just inspiring to be around, honestly. Really, really unique. I don’t know if I’ll ever have an experience like that again.

Olsen: And then you were nominated for an Academy Award for acting for “Sound of Metal,” but you won an Academy Award for the short film “The Long Goodbye” that was based on an album that you put out. As you’ve become busier in your acting career, has it become difficult for you to still make time for your music?

Ahmed: The projects that I have out right now with “Hamlet” and “Bait” are things that I’ve built. I’m not saying this is the way, necessarily, it’ll always be, but at least over the last several years, acting is like this cherry on the cake. I’m spending all this time building these other things and writing these things and producing these things. And in a way making music is part of that. It’s like being in a writers’ room, with musicians in a studio. And one of the things that I’ve enjoyed most is bringing the development of stories together with the development of albums. “The Long Goodbye” short film is an example of that. But I mean, I joke about this to my friends, one of the main reasons I made “Bait” as a TV show is so that I could make a soundtrack. You know, I grew up on Bollywood where, in a way, the movie was just an excuse for the music. I partly almost feel the same way here. We’ve got a soundtrack for “Bait,” which I’m very, very proud of. And it’s a reflection, I think again, of that eclectic, multicultural London that I know and love. It pulls together artists from across the diaspora, from the Bay Area and the U.S. through to India and Pakistan, from Trinidad and Bangladesh and Karachi and London. And it’s something that I think kind of speaks to the genre-bendiness of the show as well. So in a weird way, as I’m developing more of my own stories, I’m able to incorporate music into that process more.

Olsen: But are you making music of your own?

Ahmed: Yeah, I’ve got two tracks on that soundtrack, for example. Yeah, one of them with a rapper who I’ve been a huge fan of for many, many years. So that was a lovely moment. His name is Casisdead, makes very kind of cinematic UK hip-hop. So I’ve got two tracks on that and yeah, I mean, watch this space. Hopefully I’ll have some more time.

Olsen: And then, this is a moment in the show, and I know it’s something that’s happened in the past, but are you still ever mistaken for Dev Patel?

Ahmed: Honestly, every time I’m mistaken for Dev Patel, I’ll take the flowers. I’m such a fan of his, personally, and he’s actually also from that very particular pocket of Northwest London where I’m from, that this show is almost a love letter to. That pocket of London has produced, if I may humbly put myself in that bracket, myself, but also Dev Patel, Jay Paul, Jay Sean and Jay Shetty. All the Jays. All of them. So I’m very proud of Dev and everything he’s doing, and he’s telling his own stories as well in a way that I find really inspiring.

WASHINGTON — The interim chief of the Capitol Police apologized Tuesday for failing to prepare for what became a violent insurrection despite having warnings that white supremacists and far-right groups would target Congress.

Yogananda Pittman, in prepared testimony before Congress, said the Capitol Police “failed to meet its own high standards as well as yours.” She listed several missteps: not having enough manpower or supplies on hand, not following through with a lockdown order she issued during the siege, and not having a sufficient communications plan for a crisis.

“We knew that militia groups and white supremacists organizations would be attending,” Pittman wrote. “We also knew that some of these participants were intending to bring firearms and other weapons to the event. We knew that there was a strong potential for violence and that Congress was the target.”

Her admissions come as U.S. law enforcement investigates a number of threats aimed at members of Congress and as the second impeachment trial of former President Trump gets underway. A law enforcement official told the Associated Press that authorities have detected ominous chatter about killing legislators or attacking them outside the Capitol.

Trump supporters tore down fences and broke through doors and windows after an event in which the now-former president called on them to “fight” and “stop the steal.”

Inside the building, Congress was certifying the victory of President Biden. Five people died, including Capitol Police Officer Brian Sicknick, who was hit in the head with a fire extinguisher. A sixth person, another Capitol Police officer, later died by suicide.

The day after the riot, then-Capitol Police Chief Steven Sund said his force “had a robust plan established to address anticipated 1st Amendment activities.” Sund has since resigned, as have the sergeants at arms for the House and Senate.

Officers who have spoken to the AP described being overrun by insurrectionists who in many cases were more armed than they were. The officers said they were given next to no plan beforehand or communication during the riot.

There are conflicting accounts of why the Capitol Police did not have more backup. Pittman’s statement provoked a new round of finger-pointing.

In her testimony, Pittman said Sund asked the Capitol Police Board, which oversees the department, to declare a state of emergency and allow him to request National Guard support, but the board declined. The Defense Department has said it asked the Capitol Police if it needed the Guard, but the request was denied.

A member of the Capitol Police Board denied Pittman’s claim after her testimony was released. J. Brett Blanton, the architect of the Capitol, said that Sund didn’t ask him for help and that there was “no record of a request for an emergency declaration.”

Several law enforcement and congressional reviews are underway.

Both Pittman and Timothy Blodgett, the acting House sergeant at arms, told Congress on Tuesday that they need stronger communications and more fortifications around the Capitol building. Blodgett called on Congress to prepare for future emergencies and offered training for any offices that requested it.

“You want people to have some level of access to the government,” said Rep. Tim Ryan (D-Ohio). But he noted that it’s also important that lawmakers feel protected and positioned to respond quickly to anything that might happen.

CHICAGO — Dodgers superstar Shohei Ohtani stepped into the Rate Field batter’s box for the first time this series on Saturday, greeted by a smattering of boos from White Sox fans.

He took his first swing at the second pitch of the game. And he sent it into the right-field stands. A no-doubter, proclaiming that his availability was no longer in doubt.

Ohtani returned to the lineup for the Dodgers’ 7-1 win against the White Sox on Saturday, after exiting the Dodgers’ game Thursday against the Pittsburgh Pirates and missing Friday against the White Sox because of inflammation in his left knee.

“I felt good waking up in the morning,” Ohtani said through interpreter Will Ireton after going one for three with a home runs and three walks Saturday. “I feel good now. So I’m pretty confident that I’ll be able to stay healthy, and should be good to go [Sunday] as well.”

Ohtani also tested his knee playing catch before the game Saturday. And the Dodgers will continue to monitor him as he prepares to take the mound Wednesday against the Tampa Bay Rays at Dodger Stadium.

“It wasn’t 100% today,” Ohtani said. “But with the next three, four days, I feel pretty confident, with enough recovery, that I should be able to make the next start.”

Even Ohtani said he hasn’t been able to pinpoint the cause of the swelling. But he has a theory.

“All I can really know for sure is that I think my mechanics weren’t quite great in terms of my pitching side,” he said, “so I believe that had something to do with this.”

Even before Ohtani’s knee swelled the Dodgers planned to have him pitch the day before their Thursday off day.

They switched Ohtani and left-hander Justin Wrobleski in the rotation order, having Wrobleski pitch Thursday on regular rest.

That remains the plan, even after Wrobleski was hit in the leg by a comebacker during his start Thursday. He left the game after that play in the fifth inning with a bruised right hamstring.

The Dodgers considered bringing in a spot starter, manager Dave Roberts said, in order to keep the full rotation on extra rest.

Shohei Ohtani leads off the game with a home run to spark the Dodgers to a 7-1 win over the White Sox on Saturday.

(Matt Marton / Associated Press)

“But considering how Wrobo’s start went short, feels good after it, we feel the four days’ rest will be fine for him,” Roberts said. “And then where Shohei is at, we feel good about just leaving it status quo.”

Ohtani returned Saturday without restrictions in his designated hitter role — except one request from his manager, after a couple days of parsing whether a steal attempt that was snuffed out by a foul ball had contributed to Ohtani’s injury.

Though they didn’t find a clear cause for the injury, Roberts made it clear Saturday: “There will be no basestealing.”

June 13 (UPI) — A woman is in critical condition after a shark attack at a popular Sydney beach Saturday, and she was saved by a nearby lifeguard.

The 35-year-old woman hasn’t been identified. She had serious bite injuries on a leg and an arm from the morning attack at Coogee Beach, a police statement said. She and two friends were swimming about 100 feet from the shore, when she was bitten, ambulance official Michael Corlis said. Lifeguard Tony Waller said the shark was about 11 feet long.

Lifeguard Charlie Verco told The Sunday Telegraph in Sydney that he saw the shark while he was on his paddleboard.

“I saw the shark come out of the water and just the size of it shocked me,” Verco said. “I kept paddling towards her and the shark took her underwater and I was going, ‘What do I do now?’ A couple of seconds later, she popped up again.”

Verco said the victim was too weak to get onto the paddleboard, so he grabbed her arm and pulled her toward the beach. Other people helped them get to shore.

Ian Ferguson, an off-duty doctor at the beach with his family, said there was a “big cloud of blood in the water.”

Ferguson and other bystanders applied tourniquets and gave first aid to the woman on the beach. Her leg bite was about a foot wide, and her bone was exposed, he told The Telegraph. The wound on her arm was similar.

They got her to a nearby rugby field where she was flown by helicopter to a hospital.

This is the fourth shark attack in Australia in the past five weeks. Three men have been killed by sharks while spearfishing.

On June 6, a man, 35, died after he was bitten while spearfishing near Michaelmas Island on the western coast. A 38-year-old man died after he was bitten by a 13-foot shark on May 16, then a 39-year-old man was killed in Queensland, in the northeast part of the country, on May 24.

In January, a 12-year-old boy died in the hospital after being attacked by a bull shark in Sydney Harbor.

Since 1791, when records began, there have been nearly 1,300 shark attacks in Australia, with 260 of them fatal. Australia has averaged two to three fatal shark attacks per year since 2000, according to the Australian Shark Incident Database. There were five last year.

Shark attacks have become more common as water sports like surfing and scuba diving have become more popular.

Boeing has decided not to pursue a bid for the U.S. Navy’s Undergraduate Jet Training System (UJTS) competition. The company had previously planned to submit a version of the T-7A Red Hawk being built now for the U.S. Air Force. The winning UJTS design will replace the Navy’s T-45 Goshawk jet trainers. The new trainers will become part of a future naval aviation training curriculum for prospective tactical jet pilots that no longer requires carrier qualifications or even simulated touch-and-go carrier landings at bases on land.

The Navy issued a formal request for proposals for UJTS in March. The service currently plans to acquire 216 new jet trainers to replace the just under 200 T-45s that are in its inventory today. With Boeing now out of the running, the Sierra Nevada Corporation (which has now partnered with Northrop Grumman and General Atomics) and a team led by Leonardo and Textron are the only known remaining competitors. Lockheed Martin, which had teamed with Korea Aerospace Industries (KAI), also dropped out back in April. Aviation Week and Breaking Defense were among the first to report on Boeing’s decision regarding UJTS.

“Boeing is focused on meeting our commitments, and we bid for programs where we believe we can provide the right solution tailored to our customers’ needs and requirements,” a Boeing spokesperson told TWZ. “After careful evaluation, we have determined the T-7A does not meet the U.S. Navy’s Undergraduate Jet Training System requirements.”

“We have therefore informed the Navy that we will not bid on the current RFP. We remain committed to delivering the T-7A as a modern, growth-oriented training solution for 4th, 5th and 6th generation pilots as requirements evolve,” they added. “We look forward to providing and sustaining both current and future capabilities for the Navy.”

Boeing says its decision on UJTS is tied to the General Electric F404 turbofan. The company has stressed that the F404 is a proven design with millions of flight hours on multiple platforms, including the T-7A, and is a clear example of a ready-to-field design. Still, Boeing’s view is that the UJTS engine qualification requirements would require additional long-cycle development work, and potentially limit its ability to meet the Navy’s initial operational capability target for the new jet trainers.

All this being said, it is still not entirely clear what the specific issues might be, given that the F404 is such a well-established design that has been and continues to be used on a variety of military aircraft. This includes several other land-based jet trainer designs beyond the T-7, like the Scaled Composites Model 400, which competed against the Red Hawk in the Air Force’s T-X competition, and the Turkish Aerospace Industries Hürjet.

Most notably, the F404 also powers the TF-50N that Lockheed Martin and KAI had put forward for UJTS. At the time of writing, neither Lockheed Martin nor KAI looks to have offered a detailed explanation for the decision to withdraw from the Navy jet trainer competition.

The T-7A has also suffered from various technical and other issues over the course of its development, which has led to significant delays in its entry into Air Force service. The service is now hoping to reach initial operational capability with the Red Hawk next year. Any potential for direct synergies in terms of support and sustainment between the Air Force and Navy jet trainer fleets is now off the table.

It is worth pointing out that the TF-50N and the T-7 are also both single-engine designs. The Beechcraft M-346N that Leonardo and Textron have put forward is powered by a pair of Honeywell F124 turbofans. Two Williams FJ44-4M turbofans power SNC’s Freedom Jet, which is also the only clean-sheet design in the running for UJTS. This may point to a general view of the UJTS requirements that make single-engine designs less attractive.

The Freedom Jet design is also tailored to meet now-axed requirements for UJTS to be able to perform carrier qualifications and simulated carrier touch-and-goes at base on land. The requirements for so-called Field Carrier Landing Practice (FCLP) training at facilities ashore have historically been structured specifically in a way that “simulates, as near as practicable, the conditions encountered during carrier landing operations,” according to the Navy.

F-18 Field Carrier Landing Practice (FCLP). Touch-and-Go Landing.

SNC says its choice to build an aircraft that can still perform these tasks is deliberate, and offers the Navy what could still be important capability and flexibility in the future, as you can read more about here.

The Navy’s decision to remove carrier qualifications and otherwise alter key aspects of the tactical jet aviator training pipeline has been and continues to be controversial. The service has argued that substantial investments in virtualized training and assisted carrier landing capabilities, such as Magic Carpet and its successors, have fundamentally changed the landscape when it comes to training future pilots for carrier-based operations.

Flight Ready: Magic Carpet

Flight Ready: Live, Virtual, Constructive

Earlier this month, the Navy also confirmed that it had raised the total cost ceiling for the prospective UJTS contract from approximately $1.8 billion to $2.7 billion.

“The Government updated the price cap to reflect a change in the program cost estimate due to new information received,” Naval Air Systems Command (NAVAIR) subsequently explained, according to Breaking Defense.

The substantial increase in the projected cost has raised its own questions about the outlook for the competition and the development program that is expected to follow. The Navy’s decisions to scale back its training requirements had previously been seen as opening the door to existing land-based jet trainer designs, or derivatives thereof, like the T-7 and the TF-50N. That, in turn, was viewed as a potential way for the service to help keep costs and risk low.

The Navy’s T-45 replacement plans have already been delayed multiple times, with the service originally planning to pick a winning design this year and to have the first example enter operational service in 2028. The goal now is to award a contract in the middle of next year.

The aging T-45 fleet has faced its own struggles, including a spate of reported hypoxia-like physiological episodes among pilots that led to the development of a new oxygen system. There have been several Goshawk crashes in recent years due to a variety of factors, with the most recent coming just last month. The pilots in that case thankfully survived.

For Boeing, the decision to drop out of the running for UJTS could also allow it to refocus resources to other priorities. The company is also notably one of two remaining competitors vying to build the sixth-generation F/A-XX carrier-based fighter for the Navy. Boeing is already heavily engaged now on work for the F-47 sixth-generation fighter for the Air Force.

When it comes to the UJTS competition, with Boeing having bowed out, the SNC-led and Leonardo/Textron teams are now facing off head-to-head.

Contact the author: joe@twz.com

This article from the Occasional Digest commemorates the Feast of St. Anthony, focusing on the life and legacy of the patron saint of Portugal. Originally born into a wealthy Lisbon family, the figure joined the Franciscan order and gained renown as a powerful orator and “Wonder Worker”credited with numerous miracles. The text highlights his historically rapid canonization, which occurred less than a year after his death in 1231. Beyond the biographical details, the source functions as a digital news portal, displaying contemporary headlines ranging from international sports to global political conflicts. Consequently, the piece serves as both a religious tributeand a snapshot of … 

Beneath azure skies and fluffy white clouds, three giggling toddlers and their mothers arrive at a candy-colored water park in the town of CoComelon.

It’s the opening of “Fast Little Fishy Splash Water Park Adventure,” a three-minute episode of “CoComelon,” the popular children’s cartoon series that is perhaps as controversial as it is appealing to young children.

Moonbug Entertainment, the studio behind “CoComelon,” says the episode, which debuted on YouTube in May, is the result of a years-long collaboration with a UCLA think tank.

In an unconventional move for a privately held entertainment company, the studio released its child development guidelines on its website Tuesday. Moonbug’s head of communications Bao Nguyen said the company began to incorporate findings from the research into its creative process in late 2025.

“It’s a great example of what we’ve been trying to do,” said Rich Hickey, Moonbug’s chief creative officer, referring to the episode. “Inclusive storytelling and learning through play — they’re all evident within that episode.”

Nina and Cody, ecstatic about visiting their neighborhood splash pad, run through fountains and hop in kiddie pools, but protagonist JJ is a bit more skeptical.

With support from his friends and his mother, who offers him goggles and a pair of orange arm floaties, JJ decides to face his fears. He joins his friends under a tipping bucket, and — spoiler alert — realizes that he actually enjoys playing in water. (“I just love to swim, swim, swim,” he sings.)

The guidelines, called the “Moonbug Learning Principles Framework,” are informed by academic research and advise that Moonbug shows should help young viewers navigate “real life moments” and “model positive relationships among children and their friends and caregivers.”

Other priorities include creating shows that encourage kids to learn through play, as this helps them develop their imagination and creativity, and featuring characters from diverse backgrounds (“CoComelon’s” Nina is Mexican American, Cece is Korean American and Cody is Black) — and giving said characters depth — across all Moonbug shows.

“We’re a digital-first company and we realized that there may be some … hesitation to sharing online content with children,” Hickey said. “This is really to keep building on the trust we think we’ve built.”

“CoComelon” is Moonbug’s flagship preschool show, and the series’ origins date back to 2006 when commercial director Jay Jeon shared a YouTube video of an alphabet cartoon set to music. The videos began to revolve around toddler JJ in 2017.

By 2020, “CoComelon” was the most-watched YouTube channel in the world, averaging 3.5 billion monthly views. That year, the show made its streaming debut on Netflix — where it broke ratings records — and was bought by London-based entertainment company Moonbug.

Moonbug was then acquired by Candle Media, a firm led by ex-Disney execs Kevin Mayer and Tom Staggs, for a reported $3 billion. Disney+ has since obtained the exclusive streaming rights to “CoCoMelon.”

“CoComelon‘s” image woes aren’t new. The series has developed a reputation for keeping children glued to the screen, as seen in videos that have gone viral on social media of babies bolting to the television upon hearing the marimba theme song.

In 2020, a Guardian columnist wrote that “CoComelon” was “like crack” for a preschool child. A New York Times report in 2022 gave the public more insight into Moonbug’s audience development process, which included testing “CoComelon” videos on young children to make its shows as attention-grabbing as possible.

The program has been a hot topic on parenting forums. The exchange typically goes something like this: Someone asks if “CoComelon” is “bad” and a gaggle of parents weigh in. “Very overstimulating,” said a user in one Reddit thread. “It moves too fast for kids’ brains to process, which can cause a speech delay,” wrote another.

Asked to respond to the criticism, Hickey said he believes Moonbug makes “age-appropriate content” and produces a range of videos to cater to different moments throughout a child’s day, from slow bedtime videos to faster-paced ones meant to encourage movement, Hickey said.

In 2023, Moonbug recruited the Center for Scholars and Storytellers, a think tank at UCLA that bridges entertainment media and psychology research, to “create the best possible product” for its audience, Hickey said.

The center was tasked with analyzing Moonbug’s content and crafting the learning principles to guide the studio’s future preschool programming, which also includes the “Blippi” and “Little Angel” franchises.

A scene from Moonbug Entertainment’s “Blippi’s Job Show.”

(Jessica Perez / Moonbug)

Moonbug also asked the center to determine if there was research showing that audiovisual content could be addicting for preschoolers, said Yalda T. Uhls, an assistant adjunct professor of psychology at UCLA and executive director of the Center for Scholars and Storytellers. Uhls said the center’s review of existing peer-reviewed research found that there was no such evidence.

And despite oft-repeated claims that long-form content is better for kids than short-form content, “there isn’t really actually any evidence for that,” Uhls said. “It’s very inconclusive.”

The center found that preschool children struggle to learn as much from content with frequent cuts, though consuming it doesn’t impact their attention span negatively, Uhls said.

As such, the principles the center crafted recommend Moonbug “minimize distractions and tangential songs or storylines” when characters are navigating real-life situations to make sure it does not interfere with preschool children’s ability to learn lessons.

The center interviewed members of Moonbug’s creative teams and formed an advisory council of academic experts in child development to evaluate a selection of Moonbug’s episodes, assess the quality of socio-emotional learning and find areas for improvement, Uhls said.

“The content certainly had a lot of places where it could improve, but it wasn’t horrible,” Uhls said. “There was some learning within the episodes. … It wasn’t all good, it wasn’t all bad.”

Uhls said she recalled several instances of episodes modeling unsafe behavior, but declined to share specifics.

The center plans to continue to work with Moonbug to integrate child development research much earlier in the studio’s creative process and aid with the integration of the learning principles into its content slate, Uhls said.

Last January, Spencer Pratt’s house in Pacific Palisades was razed by the raging flames of the Palisades Fire. Now, there has been what he called a “very suspicious fire” in a building in the neighborhood’s tony Highlands where he maintained an office for his crystals company.

Pratt, a former reality TV star who ran a high-profile campaign for Los Angeles mayor that he appeared to concede on Friday, talked to the California Post about the incident, which was first reported by the Palisadian-Post. According to the company’s website, the business sells precious and semi-precious crystal pendants, carvings and chains.

“I want to be careful to not compromise an arson investigation, but this incident is very suspicious,” Pratt told the California Post.

“I will wait for the investigators to make public the details, but this was no accident, and the timing of this … on the heels of all of the contentious election tomfoolery of the last two weeks, it is very suspect, indeed.”

Fire officials have not determined what sparked the blaze, and, in an interview with the Palisadian-Post, the building superintendent said he doesn’t believe the fire is related to Pratt’s campaign for mayor.

A spokesperson for Pratt did not immediately respond to phone calls and a text message seeking comment Saturday afternoon. Pratt suggested in his remarks to the California Post that he believes the fire may have been a politically motivated arson.

“This fire was not an accident, and it would not surprise me in the least if this were a reprisal for my work in opposing Karen Bass and Nithya Raman,” he said.

LAFD Public Service Officer Jamie Stewart told The Times in a phone interview Saturday afternoon that the department received a call at 6:09 p.m. Thursday reporting “a two-story commercial building with light smoke showing.” Stewart added that “arson was notified” and that LAFD arson personnel “did respond and they were on scene” of what he said was a one-alarm fire.

According to the Palisadian-Post, on Thursday, “Multiple firefighting units, including two ladder trucks, were dispatched by LAFD from Fire Stations 23 and 69 in the Palisades and Station 92 in Cheviot Hills to respond to the fire.”

The complex’s superintendent, Oscar Chang, told the local publication that the building was being remediated while waiting for a permit for work on its roof. Eyewitnesses, he told the Palisadian-Post, “saw two guys exiting the building shortly before the fire was reported.”

Chang added that he did not believe the fire was related to Pratt’s political campaign.

“One of the tenants shared a video with me of a homeless person right around the corner,” Chang told the publication, but “no one was living in the building.”

On Saturday morning, Pratt posted on social media about the Thursday fire, which tore through the Highlands Circle commercial complex at 1515 Palisades Drive. The complex was best known as the longtime home of the beloved Italian eatery Casa Nostra Ristorante, which closed a week before the Jan. 7, 2025, Palisades Fire and never reopened.

In the social media posting, he referred to the Los Angeles Times as the El Segundo Times — a derisive moniker referring to the location of its building in the coastal city near LAX Airport — and his repeated allegation that the newspaper “doxxed” him by reporting in April that he was staying in Santa Barbara County, not L.A.

“The El Segundo Times were very eager to dox where my children sleep; they thought that was newsworthy,” he wrote on X, formerly known as Twitter. “Have they reported on the arsonists who set fire to my office in the middle of my election?”

Overhead video footage of the fire posted on the Palisadian-Post’s YouTube channel showed smoke rising from the building as firefighters stood on the roof.

A filing in February with the L.A. City Department of Buildings and Safety proposed work for “change of use from commercial to retail, 2-story” at the property. In September, the department issued a code enforcement violation for “ABANDONED OR VACANT BUILDING LEFT OPEN TO THE PUBLIC.”

CHICAGO — Fans around Rate Field rose to their feet as Yoshinobu Yamamoto embraced his teammates before walking off the mound.

Of course, the Dodgers fans stood. But fans clad in White Sox jerseys joined them, waving White Sox hats in the air, acknowledging the brilliance they’d just witnessed.

In the Dodgers’ 7-1 win against the White Sox on Saturday, Yamamoto carried a perfect game bid into the eighth inning and a no-hit bid into the ninth.

Dating back to Yamamoto’s last start, against the Angels, he retired 45 straight batters, one shy of the major-league record set by Yusmeiro Petit in 2014.

In an eventful game, which included Shohei Ohtani returning to the lineup to homer in his first at-bat, a two-homer performance from Max Muncy, and a team-effort bounce-back after getting blown out the night before, Yamamoto’s performance on the mound stole the show.

Yamamoto, who exited with one out in the ninth inning and a pitch count of 109, was efficient even within each out. A 10-pitch strikeout in the third inning showed how Yamamoto wasn’t going to give in.

The Dodgers right-hander was one pitch away from striking out Jacob Gonzalez for seven straight pitches. But Gonzalez kept fouling off anything close to the strike zone.

For the 10th pitch of the at-bat, Yamamoto challenged Gonzalez with a cutter over the plate. And finally, Gonzalez swung through it.

The next inning, Yamamoto retired the side in eight pitches.

The only thing that slowed his roll was the mound itself. Yamamoto asked for the grounds crew to fix it in the sixth. And then he kept cruising.

Dodgers catcher Dalton Rushing slaps hands with Dodgers pitcher Yoshinobu Yamamoto in the ninth inning Saturday against the White Sox.

(Zoe Davis / Getty Images)

He had help from a steady defense behind him for much of the game.

The sixth inning included two highlight-worthy plays. Tristan Peters hit a sharp ground ball up the first-base line, and first baseman Freddie Freeman made a sliding stop, tossing the ball to Yamamoto at first to complete the play. Then left-fielder Alex Call ran into the retaining wall in foul territory to catch Edgar Quero’s fly ball for the final out of the inning.

For the most part, Yamamoto made it look easy. The hardest contact against Yamamoto came the third time through the lineup. In the seventh, he pumped a heater to the top rail against Miguel Vargas, who stayed on top of the pitch to send a line drive to left field — and right to Call.

In the eighth, he fell behind Colson Montgomery 3-1. But he worked back to a full count. Montgomery then scorched a line drive up the first-base line — into Freeman’s glove.

His perfect game bid ended two batters later, with two outs, on an error.

Yamamoto got Chase Meidroth to chase a slider, hitting a ground ball to shortstop Mookie Betts. But Betts mishandled the hop. The ball shot to his left, where second baseman Santiago Espinal tried to salvage the play but couldn’t pick up the ricochet cleanly.

The no-hit bid was next to fall. Yamamoto piped a fastball down the middle to Peters, who sent it over the wall in right field.

Yamamoto stayed in for one more batter, inducing Quero to fly out, before handing the ball over to manager Dave Roberts. Left-hander Alex Vesia took over for the final two outs.

Ohtani returns, hits home run

Dodgers star Shohei Ohtani runs the bases after hitting a home run against the White Sox on Saturday.

(Matt Marton / Associated Press)

Before Yamamoto took the mound, Ohtani’s return was the big story of the day.

As Ohtani stepped into the batter’s box for the first time, he was greeted by a smattering of boos.

He took his first swing at the second pitch of the game. And he sent it into the right-field stands. A no-doubter, proclaiming that his availability was no longer in doubt.

Ohtani returned to the Dodgers lineup after exiting against the Pirates on Thursday because of inflammation in his left knee.

“I think Shohei drove it,” Roberts said of the decision to play. “Training staff drove it. We took him out of the game the other night just for precautionary reasons. Yesterday, treated it up. Today he feels great. All the confidence that he can go out there and hit, feel good, not regress at all.”

The Dodgers (45-26) will continue to monitor Ohtani’s knee as he prepares to take the mound Wednesday against the Tampa Bay Rays at Dodger Stadium.

“I think we’re full go,” Roberts said before Ohtani threw on flat ground Saturday. “But I do think once he’s out there playing catch and we see how his knee responds to the pressure, the torque will be some good information.”

Even before Ohtani’s knee swelled (it’s still unclear what caused the inflammation) the Dodgers planned to have him pitch the day before their off-day on Thursday.

They switched Ohtani and left-hander Justin Wrobleski in the rotation order, with Wrobleski set to pitch Tuesday on regular rest.

That remains the plan, even after Wrobleski was hit in the leg by a comebacker Thursday. He left the game with a bruised right hamstring.

The Dodgers considered bringing in a spot starter, Roberts said, in order to keep the full rotation on extra rest.

“But considering how Wrobo’s start went short, feels good after it, we feel the four days’ rest will be fine for him,” Roberts said. “And then where Shohei is at, we feel good about just leaving it status quo.”

Ohtani returned without restrictions in his designated-hitter role — except for one request from his manager, after a couple days of parsing whether a steal attempt that was snuffed out by a foul ball had contributed to Ohtani’s injury.

Though they didn’t find a clear inciting incident, Roberts made it clear Saturday: “There will be no base stealing.”

June 13 (UPI) — Five Indian Air Force personnel are dead after a transport plane crashed during training in Assam, officials said Saturday.

“The Indian Air Force deeply regrets the loss of five personnel in the An-32 accident at Jorhat, Assam. Sqn Ldr Prashant Singh, Flt Lt Shubham Kumar, Sgt Jitendra Sharma, Agniveervayu Khemaram Kumawat and Agniveervayu Danish Alam made the supreme sacrifice in the line of duty. IAF extends its deepest condolences to the bereaved families and stands firmly with them in this hour of grief,” the Indian Air Force posted on X.

Assam is in the northeastern part of the country.

“Crash site management and initial enquiries are on at this time,” the Air Force said. It added that an investigation to find the cause of the crash is underway.

India’s air force operates a fleet of about 105 AN-32 aircraft, Al Jazeera reported.

Asian Cup holders Qatar level in injury time to draw 1-1 with Switzerland in World Cup 2026 opening game.

Boualem Khoukhi scored an equalising goal on a header in the fourth minute of stoppage time, and Qatar spoiled a dominant day by Switzerland in a 1-1 draw in Group B of the World Cup.

Several of the Qatari players fell to the ground on Saturday in celebration of the late goal, as others ran to each other to embrace.

Breel Embolo scored for Switzerland from the penalty spot in the first half just over a week after being cleared to enter the US following a visa delay, but the Swiss failed to capitalise on multiple other scoring chances.

In the 13th minute, Embolo was fouled by Qatar goalkeeper Mahmoud Abunada, who received a yellow card on the play. Abunada lay face down and appeared motionless for a couple of minutes before he began to move his legs and was able to stand up again.

When Embolo calmly sent his penalty into the upper left corner in the 17th minute, it sent the red-clad Swiss fans into a dancing frenzy in the stands of San Francisco Bay Area Stadium.

The 29-year-old forward applied for an urgent visa at the United States embassy in Bern on June 3, one day after he was denied boarding the team’s flight to travel for his third World Cup because of a 2018 criminal conviction that was only finalised in April.

Switzerland dominated the possession game on an unseasonably warm June afternoon — with sprinklers running during a first-half break.

There were thousands of empty seats scattered throughout Levi’s Stadium, home of the NFL’s San Francisco 49ers. Brazil and Colombia drew 70,971 two years ago in a group match at the Copa America. The stadium in Santa Clara staged the Super Bowl only four months ago.

Switzerland goalkeeper Gregor Kobel made a save in the second minute after Edmilson Junior got through the defence for a one-on-one. Kobel corralled the ball again in the 90th on a close-range attempt by Ahmed Alaaeldin.

Switzerland is hoping to advance further than its round-of-16 showing four years ago before losing 6-1 to Portugal — when Goncalo Ramos delivered an improbable hat-trick playing in place of benched star Cristiano Ronaldo. The loss prompted Switzerland midfielder Xherdan Shaqiri to apologize the the fans.

The Swiss used consistency and experience to go unbeaten through qualifying against Sweden, Kosovo and Slovenia. Coach Murat Yakin’s team produced four wins and two draws to secure its sixth straight World Cup appearance and hasn’t missed one since 2002, but the team has never gotten beyond the quarterfinals.

Qatar, led by Spanish coach Julen Lopetegui, had to qualify through a playoff in November — beating the United Arab Emirates and Oman — after missing an opportunity from its group stage of Asian qualifying.

The Gulf state country became the first host nation to lose all of its group matches four years ago. It lost to Senegal, Ecuador and the Netherlands in the 2022 tournament, scoring its lone goal in a 3-1 loss to Senegal.

TICK off a plethora of UNESCO stunners, feast on incredible street food and slurp the best coffee – all on this unforgettable tour, says writer Donna Smiley.

Hopping on to the back of the scooter, I slip my arms around the driver’s waist as we weave through the narrow streets of Hanoi’s Old Quarter – a dizzying rush of colour, noise and scent.

I’ve only just arrived in Vietnam’s chaotic capital, so a Grab taxi, £1.40 for 40 minutes, turns out to be a great way to loop this kilometre-square maze of 36 streets and get my bearings.

Every corner is packed with vendors selling everything from fresh fruit and steaming bowls of pho, to clothes, silver and stacks of cooking utensils.

The air is thick with the scent of broth and grilled pork drifting out from hidden alleys.

Down each passageway lies another surprise — an ancient temple, a bustling market, a tiny coffee house or a tucked-away shop.

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

Initially, crossing the road feels like a death-defying act as hundreds of scooters stream past without stopping.

But soon enough, I’ve stopped flinching and I’m ready to begin my G Adventures X National Geographic 13-day tour, which will whisk me from the country’s north to its south.

First off, my nine fellow explorers and I delve into Vietnam’s past at Hoa Lo Prison – known to American prisoners of war as the Hanoi Hilton – a place that’s as fascinating as it is harrowing (Hoalo.vn).

Later, we visit the mausoleum of Ho Chi Minh, one of the nation’s most influential political figures, and learn more about his life at the Presidential Palace, a grand French-colonial building.

That afternoon, it’s time to leave city life behind for Mai Châu, a valley just over two hours’ coach drive away, and one that is framed by verdant hills and dotted with traditional houses raised on stilts belonging to the White Thai ethnic communities.

Our home for the next couple of nights is the lush, peaceful Mai Châu Hideaway Lake Resort (Maichauhideaway.com).

On one guided walk, we spot workers planting rice seedlings, water buffaloes grazing lazily, and children playing along the paths. It’s nothing short of idyllic.

It may be another long bus ride to get to UNESCO site Ha Long Bay – four hours to be precise – but an overnight cruise here on a traditional wooden junk boat is simply unmissable.

We stare in awe at the hundreds of towering limestone karsts, their rainforest-topped peaks rising dramatically from the emerald water, before bedding down in a cosy cabin.

The next morning, we take a small boat to explore Sung Sot Cave – it’s the bay’s largest, best-known cavern with vast, illuminated chambers, which we explore by foot.

We then set sail again to Thien Cung Cave, famous for its intricate, mythical-looking rock formations.

Once back in Hanoi, we fly to Vietnam’s former imperial capital, Hue, just over an hour away.

This UNESCO-listed city is where one of the Vietnam War’s most dramatic battles took place.

We tour Hue’s walled citadel, exploring its lavish palaces, serene gardens and courtyards, its shrines and colourful gates – some scarred by bullet holes from the fierce fighting – before entering the ruins of the Forbidden Purple City, once reserved for the imperial family.

Later, we stroll along the Perfume River to the magnificent tombs of Vietnam’s emperors close to the water.

That evening, craving one of the country’s most iconic street foods, bánh mì – a light, crispy baguette stuffed with meat, pickled veg, herbs and creamy spreads – I head to local favourite Bánh Mì Truong Tien O Tho on Tran Cao Vân for a pork roll. It’s utterly mouth-watering and costs just 25p!

Vietnam also has the best (and cheapest) coffee I’ve ever tasted.

As salt coffee is a Hue specialty, I seek out Cà Phê Muoi on Dang Thái Thân Street, to give the robust Vietnamese coffee made with condensed milk, £1, a try, and the lightly salted whipped cream delivers a delicious sweet-and-salty hit. I’m instantly addicted.

After an early-morning, four-hour drive, we arrive in Hoi An, another UNESCO spot.

The Old Town’s narrow streets decked in colourful silk lanterns that sway gently above the crowds are instantly enchanting, but as night falls, its riverfront is truly magical.

Bridges glow in vivid colours and hundreds of candle-lit lanterns drift along the Hoai River.

We hop on a boat to release a paper lotus lantern, a tradition symbolising peace and good fortune – as I light my lantern, I think of a loved one and watch the tiny flame float away.

Even surrounded by so many tourists doing the same, it is incredibly moving.

Our last stop is Ho Chi Minh City, formerly known as Saigon and home to 14 million people.

Alongside iconic sites, such as the Notre Dame Cathedral of Saigon and the ornate Central Post Office sit communist-era landmarks and futuristic skyscrapers, which light up at night and dominate District 1’s skyline.

The War Remnants Museum serves as a powerful reminder of the atrocities committed during the Vietnam War (Baotangchungtichchientranh.vn), as does Independence Palace – the site marking the end of the war (Dinhdoclap.gov.vn).

Come dusk, rooftop bars glow and I find myself back on a scooter for the Ho Chi Minh: Food Tasting & Sightseeing Tour, from £24 for four hours.

Zipping through the city, we venture into neighbourhoods I’d have struggled to find alone – stopping first for the delicate beef stew at Quán An Cô Liêng on Võ Van Tan Street, a humble spot in the Michelin Guide that’s packed with locals (Getyourguide.com).

From here, we cruise through the vibrant Ho Thi Ky flower market, filled with the scent of jasmine and marigolds, before stopping at a nearby food market to sample an array of delights, including Vietnamese pizza and chè chuoi – a warm, creamy dessert with bananas and rich coconut cream.

It’s safe to say this whole trip has certainly been one incredible ride.

“The Listeners,” which premieres Friday on Starz, began unusually as a story written by Jordan Tannahill as the basis of Missy Mazzoli‘s 2022 opera, also called “The Listeners” (libretto by Royce Vavrek), which he turned into a 2021 novel, which became a 2024 BBC television series, also written by Tannahill. Starz has cut its original four episodes into five, which means that they end in odd places, but given its controlled, glacial pace, shorter might be better.

Tannahill’s inspiration is an unexplained phenomenon reported in the real world — though exactly how real it is is open to interpretation — generally called “the hum,” where people experience a low but persistent background noise inaudible to others. (It isn’t tinnitus, or any diagnosable medical condition.) One such sufferer is Claire (Rebecca Hall), a high school literature teacher with a husband, Paul (Prasanna Puwanarajah) and a teenage daughter, Ashley (Mia Tharia), with whom she gets along well. We begin on an up note, Claire and Ashley singing along to Richard and Linda Thompson’s “I Want to See the Bright Lights Tonight” as they drive to school (she also has Nick Drake on her phone). And then the 1970s British folk rock gives way to a less pleasant auditory landscape, as the hum appears, bringing on headaches and nosebleeds and affecting her concentration and mood, her work and family.

Any condition can be isolating from those who don’t share it, and Claire gets some relief when she’s approached by a student, Kyle (Ollie West), who also hears it. They go investigating possible sources of the sound — wind turbines, a radio telescope — and wind up eventually at something like a support group for hum-hearers run by Omar (Amr Waked) and Jo (Gayle Rankin). There is some sketchiness in their past, including a changed identity, and they like to keep the group on a tight rein, but the breathing exercises and visualizations seem pretty standard, and more benign than, say Scientology, and the suggestion that one may tame an affliction by embracing it is pretty reasonable. Claire’s mistake here is not to get a signed parental permission slip, as it were, or enlist a chaperone, and her growing closeness with Kyle (not romantic, not sexual we are assured) will cause them trouble, cost Claire her job and mess up her marriage. She makes some insufficiently careful decisions, but those around her tend to overreact. This is very much a story about listening and not listening.

Directed by Janicza Bravo and photographed with great intention by Jody Lee Lipes, it has the studied look and tempo of a 20th-century art film. (It is always great to look at.) I was reminded of Antonioni’s “Red Desert” and Bergman’s “Persona,” psychological studies of women going to pieces, but also, thematically, of Spielberg’s “Close Encounters of the Third Kind,” with its characters driven to what looks like madness by private bulletins from the ether, pushing them away from family and toward others who are getting the same message. No aliens here — not a spoiler — though I might have liked that ending more than this, which in its own way seems to drop from space.

You can look for metaphors and social comment here — there are references to conspiracy theories and industrial noise pollution and such — but it seems to me to operate most effectively as a beautifully rendered mood piece and character study, and, certainly in the case of Hall, whose story this is, a platform for some exquisitely subtle acting.