July 5 (UPI) — President Donald Trump called the United States’ 250 years an “unmatched achievement” during his Fourth of July speech in Washington, D.C., on Saturday.

Trump’s address was delayed late into the evening due to severe storms that caused a two-hour evacuation of the National Mall. The storms followed on the back of a heatwave on the east coast.

The president took to the podium at 11:15 p.m. EDT. His speech echoed his past speeches, touting the “golden age of America,” repeating unfounded claims of election fraud and calling for the passage of the SAVE Act in Congress.

“We want to keep America great, and we will do so by approving the Save America Act,” Trump said. “You won’t have cheating on the elections anymore. It’s very simple.”

As Trump listed off a series of U.S. military achievements, he included the January operation to abduct Venezuelan President Nicolas Maduro and the war in Iran, which he compared to the sinking of the Spanish Armada in the Anglo-Spanish War in 1588.

“Much like our recent victory, by sinking the entire Iranian navy,” Trump said. “One hundred and fifty-nine ships to the bottom of the sea, all done in just a moment’s time.”

Trump also focused his attention on communism, which he called a threat to the United States.

“We don’t want communists in our country,” Trump said. “It never worked and it never will work.”

The transitional parliament aims to draft a new elections law during its 30-month term.

Syrian authorities have postponed the first meeting of the new transitional parliament, days after announcing the inaugural session had been scheduled for Monday.

“The convening of the first session of the people’s assembly has been postponed to a date to be determined later,” state television reported on Sunday, citing an electoral official and without specifying a reason.

Syria’s new authorities dissolved the country’s rubber-stamp legislature after toppling longtime ruler Bashar al-Assad in December 2024, following almost 14 years of civil war which killed about half a million people.

In March 2025, new President Ahmed al-Sharaa signed a temporary constitution that will be in force for a five-year transitional period.

In October, local committees appointed by the electoral commission, which was in turn appointed by al-Sharaa, began selecting two-thirds of the 210 members of the new parliament, with Sharaa to appoint the remaining third.

He appointed 70 members this week.

Druze-majority Suwayda province in the south has still not designated its members, after sectarian bloodshed there last year.

Electoral authorities have said the selection process would be held there when conditions are “appropriate”.

The selection process was held in formerly Kurdish-run areas of the north and northeast earlier this year after authorities in the capital Damascus assumed control there and signed a deal on integrating Kurdish institutions into the state.

The new parliament will have a 30-month term and work on a new elections law while preparing the ground for a popular vote, according to the head of the electoral committee, Mohammed Taha al-Ahmad.

The American democratic experiment stands on shaky ground. Not since the Civil War have these proverbially United States been so disunited. As the nation throws itself a grand old 250th birthday bash in Washington, the mood in much of the country is more funereal than festive.

All-out partisan warfare has sown chaos. Republican legislators, taking their lead from a president who sees half the nation as his personal enemy, have put their own party’s interests over the republic’s. Staying in office has become the only thing that matters. The values imparted to me throughout my public school education — equal opportunity, impartial justice, respect for expertise, basic honesty — have been abandoned by a new breed of politician that has turned governance itself into a blood sport.

Where can one turn for reassurance that America’s best years are still ahead? Would you believe me if I said the theater? I’m not toeing the line for my field. I’m merely calling attention to a development that’s been gaining strength since I first reported on it in 2015. A cohort of playwrights, breathtakingly diverse demographically as well as aesthetically, has been rejuvenating American theater.

These writers aren’t on a sociological mission. They’re not trafficking in grievance or appealing to a particular political base. They let their plays do the talking. And they’ve been trying to have a conversation that isn’t hijacked by the most doctrinaire voices in the room.

From an institutional perspective, the American theater is in bad shape. The triple whammy of the COVID-19 closures, inflation and technological disruption has left everyone hurting. The Mark Taper Forum had to suspend programming for more than a year, smaller companies still in operation are producing fewer shows, and producers everywhere are gravitating toward the bankably familiar.

But despite this difficult terrain, it has been a boom time for American playwriting. For more than a decade, I’ve been teaching a course at the California Institute of the Arts called American Drama Now, and each year the selection of plays has become harder to whittle down. I designed the seminar partly around theater offerings in Los Angeles to connect students to recent developments in the field and to consolidate awareness that something special is happening in the American theater.

The current generation of playwrights has revealed itself to be remarkably resilient and independent. It has had no other choice. By the time many of these rising talents were accruing debt in graduate writing programs, the dream of a sustainable career in the nonprofit theater had already gasped its last breath.

When Wendy Wasserstein, Tony Kushner, Craig Lucas and Jon Robin Baitz emerged in the late 1970s and ’80s, it was still imaginable that a chosen few playwrights could make a living via the regional theater circuit, that constellation of companies founded as an alternative to the Broadway model.

That prospect was growing dimmer a few years later when playwrights such as Suzan-Lori Parks and Lynn Nottage came into prominence. But hope was still alive in the late 1990s and early 2000s. Regional theaters such as Seattle Rep, the Guthrie, the Goodman and Baltimore Center Stage remained committed to their missions while New York nonprofit companies continued to hold the line off-Broadway.

When did the picture change? In 2009, “Outrageous Fortune: The Life and Times of the New American Play” was published by the Theatre Development Fund, and one of the key findings in this study written by Todd London with Ben Pesner and Zannie Giraud Voss is that “there is no way to view playwriting as anything but a profession without an economic base.” A chasm had opened between the network of increasingly corporate-minded nonprofit theaters and the artists this system was built to serve.

The situation has grown bleaker in the last decade and a half as commercial pressures have ramped up and media consolidation and digital shortsightedness have obliterated arts coverage. Yet there’s been an unexpected upside. Theater artists who have come of age in this period have been released from the burden of having to conform to notions of regional theater respectability.

Instead of worrying about the timid taste of subscription audiences, these dramatists have been writing for themselves and their communities, dreaming up plays that don’t have to fit into institutional slots or stay within the staid bounds of traditional proscenium house decorum. The irony is that in not trying to pass muster with more conservative theatergoers (and their fastidious institutional guardians), playwrights have been winning over not just critics but also formerly squeamish artistic directors and perennially nervous Broadway producers.

The playwrights who appear regularly on the syllabus in American Drama Now — Young Jean Lee, Tarell Alvin McCraney, Annie Baker, Branden Jacobs-Jenkins, Samuel D. Hunter, Martyna Majok, Jeremy O. Harris, Will Arbery, Jackie Sibblies Drury, Quiara Alegría Hudes, Ayad Akhtar, among them — are of different ages, sensibilities and backgrounds. What they share is an appreciation of the complexities and contradictions in being an American.

The politics of identity for them is a lived experience. And as dramatists, they’re uniquely positioned to appreciate the conflicted loyalties and communal tensions of American life in dramatic rather than dogmatic terms. Whatever agendas they may personally espouse, these writers are too alert to the messiness of history and human nature to be rigidly ideological in their work.

The ongoing war between woke and anti-woke factions is a fatuous melodrama best left to the satirists. The goal of playwrights grappling seriously with what it means to be an American today isn’t to score social media points but to shed light on the fractured reality of our collective experience.

Characters in plays by Young Jean Lee, such as “Straight White Men,” are often “trying on masks to see what might prove effective in a given situation.”

(Lawrence K. Ho / Los Angeles Times)

Identity is not a fixed fact but a raucous collision of parts. No single category can contain the Whitmanesque multitudes jockeying for position inside us. Race, religion, ethnicity, gender, age, sexuality, class, disability and geography don’t line up in perfect political harmony, and each social marker tells only a fraction of the whole story. (Money, the great unequalizer, may be the most taboo subject of all.) “We are not only but also,” the sociologist and cultural historian Todd Gitlin wrote in his 1995 book “The Twilight of Common Dreams: Why America Is Wracked by Culture Wars.” We also overlap and often even clash with ourselves.

Discussion around identity can be dangerous. How can anyone be expected to navigate the minefield? Tribalists and traditionalists have controlled the terms of the battle, one by simplifying, the other by denying, the way privilege has shaped our compound selves.

Playwrights know better. They understand the way oppression, which falls disproportionately on the marginalized, has warped all of us. History, whether acknowledged or not, is etched in our souls.

It is a long-held tenet of the theater that the most interesting characters, like the most interesting people, are defined by their schisms and paradoxes. (How else could Hamlet have maintained his centuries-long hold?) Dramatists are more cognizant than ever of the sociopolitical import of these contradictions and they’ve been chronicling the way this historically freighted baggage emerges in the drama of everyday life.

All the world is indeed a stage and all its inhabitants merely stock players, as Jaques lays out in “As You Like It.” Hegel described Shakespeare’s characters as “free artists of their own selves.” The truth where we and our contemporary stage surrogates are concerned is somewhat more constrained. Culture and representation largely determine the range of our performance possibilities.

Plays such as Branden Jacobs-Jenkins’ “Appropriate” reexamine “the canon of great American family dramas … to uncover the stories that have been suppressed.”

(Craig Schwartz)

Jacobs-Jenkins has recognized perhaps more acutely than any of his peers the way dramatic forms have locked us into set scripts about our lives. He tackles genres — adapting a Dion Boucicault melodrama in “An Octoroon,” reexamining the canon of great American family dramas in “Appropriate” — to uncover the stories that have been suppressed in the dominant white middle-class narratives that would prefer not to think of themselves as political.

Lee’s standout identity plays — “Straight White Men,” “The Shipment” and “Songs of the Dragons Flying to Heaven” — reject the illusion of stable, coherent characters propagated by psychological realism. The figures in her uncategorizable works are in experimental flux, trying on masks to see what might prove effective in a given situation. Even “Straight White Men,” which uses the old home-for-the-holidays genre as a springboard, can’t help spinning away from the drama’s droll hyper-naturalism toward something resembling performance art. (Not even straight, white men want to be confined to a box, even a relatively plush one.)

“Fairview,” by Jackie Sibblies Drury, “theatricalizes the experience of the white gaze.”

(Jeff Lorch)

In “Fairview,” Jackie Sibblies Drury theatricalizes the experience of the white gaze, ultimately reversing the comfortable position white theater audiences have traditionally held. Bess Wohl’s “Liberation,” this year’s most decorated play, reanimates the history of the 1970s feminist movement by questioning what it could be leaving out of the picture. “The Balusters,” by David Lindsay-Abaire, brings the current culture wars to the stage with unique sensitivity through the squabbles of a neighborhood association torn between protecting its town’s heritage status and coming to terms with the more pluralistic demands of the 21st century.

“Fairview,” “Liberation,” and “The Balusters” are extremely funny plays that also happen to be deadly serious. If philosophy begins in wonder, trenchant social drama seems to start in laughter.

What do theatergoers want? They don’t just want to look; they also want to be seen. Isn’t that what any of us wants when gazing into the mirror held up to nature, as Hamlet describes the theater? To be granted a more expansive view of ourselves and others?

E pluribus unum, the motto of the United States, is so fundamental that it’s printed on our currency. There’s perhaps no place where the truth of this phrase — out of many, one — is more regularly realized than at the theater, where strangers transform over the course of a show into that mysterious organism we call an audience.

Gitlin ends “The Twilight of Common Dreams” with a plea: “For too long, Americans have busied themselves digging trenches to fortify their cultural borders, lining their trenches with insulation. Enough bunkers! Enough of the perfection of differences! We ought to be building bridges.”

A coalition mindset doesn’t mean denying history or pretending that America has been a level playing field. It’s been anything but in this “melting pot where nothing melted,” to quote the rabbi whose eulogy sets Kushner’s “Angels in America” in motion. But history happens to all of us, not just a select few. And to be an American is to be embroiled in the great democratic experiment that has been defined by division from the beginning. Empathy, the nuclear fusion of playwriting, is expanded when we’re allowed to take in more of our patchwork selves. Today’s dramatists have been extending a generous invitation to their compatriots: We’ll show you our complexity, if you’ll show us yours.

July 5, 1811, is rightly remembered as one of the key dates in our republican history. It commemorates nothing less than the Declaration of Independence from the Spanish Monarchy, and is the central act of the political and legal process of independence that began on April 19, 1810, and led to the promulgation of Venezuela’s first Constitution on December 21, 1811.

On March 2, 1811, the General Congress of Venezuela was convened, becoming the first Parliament in our republican history. That General Congress, meeting in what was then the chapel of the Santa Rosa de Lima Seminary in Caracas, had as its fundamental mission the drafting of the 1811 Constitution. However, two months after beginning its sessions, the nascent Republic felt the need to issue a formal declaration of independence from the Spanish Crown, thus clarifying the political separation of the previous three hundred years. Once the Congress had decided to move towards a republican government—after refusing on April 1810 to obey the French regime that had invaded Spain—it was incompatible with that decision not to make an unrestricted declaration of independence from the Crown.

In the sessions of July 3, 4, and 5, the problem, which was certainly not insignificant, was openly addressed, among other reasons because it was necessary to convince those who were not entirely convinced of the legitimacy or timeliness of the process. Ultimately, the declaration of independence required to substantiate the reasons for declaring independence.

Therefore, the Act of Independence will be a very well-founded argument for the reasons why independence is being declared. The first paragraph will establish the context in which the declaration of independence will be justified:

“In the name of Almighty God, we, the representatives of the United Provinces of Caracas, Cumaná, Barinas, Margarita, Barcelona, ​​Mérida, and Trujillo, which form the American Confederation of Venezuela on the southern continent, assembled in Congress, and considering the full and absolute possession of our rights, which we justly and legitimately recovered on April 19, 1810, as a consequence of the events in Bayonne and the occupation of the Spanish throne by the conquest and succession of another new dynasty established without our consent, wish, before exercising the rights of which force had deprived us for more than three centuries, and which the political order of human events has restored to us, to make known to the world the reasons that have arisen from these same events and authorize the free exercise that we are about to make of our sovereignty.”

On July 5th, as the culmination of debates that had begun on July 3rd, independence was declared within the Congress. Later, in another session, the drafting of an Act to record the decision was decided. Therefore, although independence was declared by Congress on July 5th, the Act that justified it politically and legally was only read, approved, and signed on July 7th, having been drafted by Juan Germán Roscio and Francisco Isnardi.

The declaration of independence is a central element in our independence process, as it reflected the motivation behind the decision to sever political ties with the Monarchy under which these territories had lived for three centuries.

Indeed, the declaration of independence, from the perspective of the political and legal process that independence entailed, lies at the very heart, even temporally, of the first part of that process, which, at least in this initial and fundamental stage, was essentially civil. This stage begins with the events of April 19, 1810, and continues, among other events, with the establishment of the General Congress of Venezuela, and then proceeds, also among other events, with the Declaration of the Rights of the People of 1811 and the Constitution of 1811, of December 21.

Also from this perspective, it is worth noting that the Declaration of Independence occurred within the context of the first constituent process in our republican history. In fact, it can be pointed out that this constituent process, which began on April 19, 1810, and whose first stage culminated on December 21, 1811, is not only our first constituent process, but the only genuine constituent process that has existed in Venezuela. 

In the institutional history of Venezuela, only one truly constituent process can be identified, the constituent process of 1811. During this process, the most important political transformation of our history took place.

This paragraph from the Declaration of Independence summarizes the truly constituent decision:

“In consideration of all these solid, public, and irrefutable political reasons, which so strongly persuade us of the need to recover the natural dignity that the course of events has restored to us, and in the exercise of the imprescriptible rights that peoples possess to dissolve any pact, agreement, or association that does not fulfill the purposes for which governments were instituted, we believe that we cannot and should not maintain the ties that bound us to the government of Spain, and that, like all the peoples of the world, we are free and authorized to be independent of any authority other than our own, and to assume among the powers of the earth the equal place that the Supreme Being and nature assign to us and to which the succession of human events and our own good and utility call us.”

The Declaration of Independence is particularly clear in the final paragraph of the Act:

“We, therefore, in the name and with the will and authority vested in us by the virtuous people of Venezuela, solemnly declare to the world that its United Provinces are, and from this day forward, in fact and in law, free, sovereign, and independent States, and that they are absolved from all submission and dependence on the Crown of Spain or on those who claim or may claim to be its agents or representatives, and that as such a free and independent State, it has full power to adopt the form of government that is in accordance with the general will of its people, to declare war, to make peace, to form alliances, to arrange treaties of commerce, boundaries, and navigation, and to perform all other acts that free and independent nations perform.”

Thus, July 5th is a date to commemorate an essentially civil event, one of the few that has occurred since in our republican history: faced with the political situation resulting from the Napoleonic invasion of Spain, Venezuelans questioned the legitimacy of their submission to that Crown. The independence process was, therefore, in its origins, a question based on ideas and on the concern for the legitimate and correct path to follow as a nation.

For this reason, a military celebration on July 5th is actually a historical anachronism. The main celebration of July 5th should take place in the National Assembly, the successor to the General Congress of Venezuela, where independence was declared and the Act of Independence was signed.

Mexico supporters attempted to wake up England players with music and fireworks close to their hotel the night before the sides’ last-16 World Cup tie, but were moved back by police.

Footage published on social media appears to show a group of fans chanting, playing music and letting off fireworks on a street nearby England’s hotel in Mexico City.

Early indications from the England camp are it had minimal impact on the players.

Police in riot gear have been lining the streets immediately surrounding the hotel, with anyone attempting to get close being moved away.

The increased security presence comes because Ecuador – beaten 2-0 by Mexico in the World Cup last 32 – lodged a noise complaint with world governing body Fifa after fans with loudspeakers, motorbikes and horns disrupted their sleep last week.

The World Cup co-hosts play England at Mexico City’s Azteca Stadium on Sunday evening local time (01:00 BST, Monday).

On Saturday, the team were met with a mixture of cheers and jeers from fans as they left their hotel for training under enhanced security measures.

England boss Thomas Tuchel dismissed concerns over his side’s treatment in Mexico, saying it had been “nicer” than he expected and that home fans were “friendly and respectful”.

Millions of people have attended funeral prayers in Tehran for Iran’s late Supreme Leader Ayatollah Ali Khamenei who was killed in a joint US-Israeli strike on February 28. Aerial video reveals the scale of the crowd.

Cape Verde’s football team is getting a hero’s welcome on its return home after a historic World Cup run, in which it became the smallest nation by population ever to reach the tournament’s knockout rounds.

STACEY Solomon made it a real, er, family affair on Sunday as she headed to Silverstone for the British Grand Prix with her husband Joe Swash and her ex, Dean Cox.

The TV personality shares eldest son Zachary, 18, with Dean, whom she had a romance with as a teenager.

Before heading to the F1 event, Stacey told fans she was going on a ‘special date day’ with husband Joe.

And when they arrived to Silverstone, the star filmed herself walking in as she explained that the couple had also brought along her dad – a big racing fan – for the fun.

“It’s not a date day without bringing your dad,” laughed Stacey as she dubbed Joe a ‘third wheel’.

She then revealed that it wasn’t just her dad who was there, but her ex Dean, too.

BROTHERLY LOVE

Ryan Thomas visited pal Jake Hall’s parents after star’s heartbreaking death

BACK TO IT

Lionel Richie shares health update after worrying hospital dash

“Do you know who is really important to bring on a date day with your husband? Your last baby daddy and his wife,” said Stacey as she filmed herself with Dean.

Laughing, she panned the camera through the group and said: “Zach’s dad, Zach’s stepmum, my dad are all on this date with us.”

“Gooseberry,” said Joe as he interjected while laughing.

As well as Zach, Stacey is a mum to son Leighton from another previous relationship, and shares three children with Joe.

She has maintained a strong co-parenting relationship with Dean since they welcomed Zach as teenagers.

He even appeared on her TV show, Stacey & Joe, for a one-off as they discussed her teen pregnancy.

The racing reunion comes just days after Stacey revealed their son Zach has headed off to America for the summer.

The teenager has moved stateside to take part in Camp America, with his famous mum admitting it ‘hurt her heart’ to drop him off at the airport.

She said in an Instagram post: “It hurt my heart to drop you off this morning but I know you’re going to have the best time ever, and that camp is so lucky to have our Zachary in their lives for the summer.

“Good luck my darling boy. To the moon and stars and back again.

“Please tell me why I really wanted him to do this experience & I am so happy for him but also so my gut is in knots??”

Betfred Super League Magic WKND

Wakefield (20) 48

Tries: Scott 2, Johnstone 2, Hamlin-Uele 2, Walmsley, Smoothy, Rourke Goals: Sinfield 6

Castleford (0) 6

Tries: Qareqare Goals: Weaver

Wakefield Trinity ran in nine tries as they thrashed Castleford Tigers to boost their Super League top-four hopes at Hill Dickinson Stadium.

Daryl Powell’s side climbed to third on 24 points after recording six wins in their past seven games.

Castleford were a mess and Wakefield took full advantage as Cameron Scott, Tom Johnstone and Caleb Hamlin-Uele each scored twice.

Lachlan Walmsley, Tyson Smoothy and Josh Rourke also went over, before Jason Qareqare replied a minute before time to avoid total humiliation for Castleford.

Scotland international Walmsley marked his spectacular one-handed finish in the corner by pulling out an Uno +4 card from his sock, with £180 being donated to the Motor Neurone Disease Association by sponsors for every try celebration during Magic Weekend.

As majestic as Wakefield were, Castleford gave them a massive helping hand and Walmsley caught Jake Trueman’s kick and laid the ball off for Scott to go over in the right corner for their first score in the third minute.

It was one-way traffic and Trinity had two tries ruled out before winger Johnstone crossed in the left corner in the 16th minute.

Hamlin-Uele came off the bench to score their third try when he powered through two tackles to go over near the posts.

They were almost scoring at will as Castleford made mistake after mistake while missing 44 tackles.

Wakefield extended their lead to 20-0 when Scott collected Jack Sinfield’s pass and broke inside to go over for his second score.

They were enjoying themselves as Walmsley showed following his acrobatic try in the right corner after 47 minutes to make it 24-0.

Not to be left out, Trinity’s forwards got in on the act and Smoothy smashed through the Castleford defence to score by the posts on 51 minutes.

Hamlin-Uele scored his second try – and he will hardly record an easier one all season – as he walked through two Castleford tackles to go over.

Johnstone bagged his second try on 65 minutes when Wakefield passed the ball along their backline from a scrum, before Rourke caught Sinfield’s kick to crash over for their ninth try.

Qareqare, though, continued his hot streak with a 10th try in seven games, but it provided little consolation for ninth-placed Castleford.

Extreme weather disrupted the US’s 250th anniversary celebrations, forcing evacuations, cancellations and delays. Despite setbacks including a National Mall evacuation and a fireworks display setting the Brooklyn Bridge on fire, Trump called the day ‘one of the most joyous and glorious’ in US history.

But England do not have to remove direct play from their game entirely.

By managing the space and speed of the game, they can pick their moments to release the likes of Noni Madueke, Anthony Gordon, Marcus Rashford and Jude Bellingham.

If England do opt to play more slowly, they will also be hoping these ‘boring’ spells of play work to silence the Mexican home crowd.

The decision to pick a squad of similar profiles might be one of the more astute decisions Tuchel has made as England boss when it comes to this game too.

With a tactical plan in mind, making five substitutions that do not alter the dynamic of the game greatly, but instead reinforce the plan with freshness and energy as Mexico begin to tire could be the difference.

This could indeed be a match full of mini-games and picking moments in which to change things will be key.

Tuchel, as we’ve seen throughout his club career, and most recently against DR Congo, has a knack for getting mid-game tweaks right but the many variables of the game against Mexico make this one of his toughest challenges yet.

A WIZZ AIR pilot-in-training has revealed all about what it is like to work for the airline including the flying tips and tricks you need to know.

Having joined Wizz Air back in 2024 as cabin crew, Sebastien Harrison is now training to be a pilot through Wizz Air’s Cabin Crew to Captain programme.

And from spending years in the air, he has loads of tips for travellers.

When it comes to flying itself, the 20-year-old had many tips including where the best place to sit on Wizz Air planes.

He said: “The best seats in the plane for turbulence are on or about row 15; this is because if the plane is pitching up or dowduringne turbulence in the middle of the plane there is least movement.”

And for nervous fliers, Sebastien says: “If you are a first-time or nervous flyer, let the crew know as soon as you board.

Read more on travel inspo

GO ON

All the little-known websites for cheap or FREE tickets to gigs, theatre & festivals

ALL IN

I found the best value all inclusive London hotel… just £55pp with free food & booze

“They are excellent at providing reassurance and will check in on you throughout the flight.”

And when it comes to managing tiredness when you reach your destination, Sebastien recommends not napping before your bedtime so you get solid sleep and avoid “pushing back the tiredness”.

He added: “Go to the gym at maybe 5pm because it’s going to make you tired and then you can go to sleep a bit earlier.”

And of course, there are a number of destinations Seb is excited to see and recommends visiting.

He revealed: “I’m very excited for the Greek destinations like Santorini, because obviously it’s an island with very beautiful weather and beautiful scenery.”

And if you want to head to a really unique destination then Seb recommends Tromso in Northern Norway.

He shared: “It’s in the Arctic Circle and it’s very beautiful, set in a valley surrounded by mountains.

“It is some of the best scenery I’ve seen in the world.

“You can see the Northern Lights, head skiing, spot whales and see reindeer – it’s just a very interesting place with loads to do.”

He added that the destination is also super unique because in the summer you get midnight sun, and in the winter you get polar night, where the sun remains below the horizon between late November and mid-January.

For a more beachy destination, Sebastien suggests heading to Catania in Sicily – which is Italy‘s sunniest destination.

He said: “There’s a volcano which you can see from the airport and the beaches are really cool.”

Having grown up only 10 minutes from Glasgow Airport in Scotland, Seb knew he wanted to one day become a pilot.

He said: “As a child I was always excited to literally leave the earth – you’re defying gravity.

“I think being able to literally fly planes is very rewarding.”

Then in 2024, his dream of working on planes came true as he got a job as Wizz Air cabin crew.

He said: “Being cabin crew has been a very useful experience.”

“Obviously I went into cabin crew knowing that I wanted to become a pilot and I just thought as cabin crew I would have the opportunity to speak to pilots a lot and really gain a lot of insight about the job.

“I knew that if I was cabin crew, I’d kind of see the job firsthand – it’s a very sociable job being cabin crew too.

“When I’m a pilot, it’s probably going to make me a better pilot as well because I’m going to understand what the cabin crew do as well, but some pilots they don’t 100 per cent appreciate it.”

“At the moment we’re only doing classroom theory training and we’re in the classroom for about four hours a day on average.

“There’s quite a lot of testing maybe about two or three tests a week just to make sure that you’re progressing – there’s 13 theory exams that you have to pass in total across around two years.”

Can you tell the story of America in 10 movies? Maybe so — at least a version of it — if you stick to moments of serious national friction and those rare instances when a filmmaker meets the mood with a true vision. If you want tearjerkers about red, white and blue triumph, this is not your list (although the Space Race drama “The Right Stuff” always does the trick). Meanwhile, our current state of disunity and division will find its own expressions in time; start with “Civil War,” though it’s a bit too soon. Instead, we thought about historical pivot points and built a list of classics, along with a few alternatives for each title.

The Great Depression

Henry Fonda, left, in the 1940 film “The Grapes of Wrath,” directed by John Ford.

(20th Century-Fox)

‘The Grapes of Wrath’ (1940)

America is a broken place in John Ford’s poetically charged adaptation of the Steinbeck novel: a downbeat landscape of Oklahoma dust storms, long shadows and the teetering sight of a car turned into a truck transporting a family westward. This will always be one of those essential movies about a particular national dream — not just a myth — of emerging from economic catastrophe and being reborn in the promised land of California. Ford, with the instincts of a showman, foregrounded hope on the horizon via inspired performances by Henry Fonda and Jane Darwell’s pragmatic Ma Joad getting the final word (“We keep a’coming…”). But there is still so much darkness in “The Grapes of Wrath,” especially in its scenes of John Qualen’s Muley Graves, crumpled on the ground, suddenly a squatter on his own piece of land. He’s no match for the bulldozers. As long as the idea remains that property gets its purpose from those tending it, working it, nourishing it and dying on it, the film will never become a relic. Its binding values of labor and community remain relevant, even if today’s Hollywood rarely speaks to them. — Joshua Rothkopf

See also: “Modern Times,” “Sullivan’s Travels,” “Bonnie and Clyde”

Postwar optimism

Michael Hall, from left, Teresa Wright, Myrna Loy and Fredric March in the 1946 movie “The Best Years of Our Lives.”

(Samuel Goldwyn Productions)

‘The Best Years of Our Lives’ (1946)

World War II ended with ticker-tape parades and soaring expectations. William Wyler’s sweeping drama arrived just as America was beginning to reckon with what coming home actually meant. Harold Russell, a real-life veteran who lost both hands during the war, plays a sailor struggling to imagine a future with the woman he loves. Dana Andrews is a decorated bombardier who returns to the same soda fountain job he held before the war, discovering that military heroism doesn’t necessarily translate into peacetime opportunity. The movie became one of the biggest hits of 1946 because it understood a challenge facing millions of Americans: The war had given the country a common purpose but peace meant each person had to find their own. Yet for all its honesty about that dislocation, the film remains remarkably hopeful. Its faith that people can rebuild their lives and start over feels almost radical today. Seen from the distance of eight decades, it feels like a dispatch from a country that had just survived a catastrophe and still believed its best days lay ahead. — Josh Rottenberg

See also: “It’s a Wonderful Life,” “Miracle on 34th Street,” “Giant”

Capitalism, unchecked

Daniel Day-Lewis in the 2007 movie “There Will Be Blood,” directed by Paul Thomas Anderson.

(Paramount Vantage)

‘There Will Be Blood’ (2007)

“I drink your milkshake — I drink it up!” Oil man Daniel Plainview’s deranged metaphor, allegedly taken from congressional transcripts from the 1920s Teapot Dome scandal in which Interior Secretary Albert Fall defended the practice of directional oil drilling, a.k.a. drainage, became a catchphrase when “There Will Be Blood” arrived in 2007. Elon Musk probably has a T-shirt in the back of a drawer emblazoned with the line. It epitomizes the American ethos of extracting resources that belong to someone else and then brutally bragging about the beatdown. Paul Thomas Anderson’s movie is part history lesson, part horror film, which, when it comes to chronicling the American experience, feels like the perfect blend. The oil man’s exploits take place more than a century ago, but seem particularly relevant now with Musk newly minted as the world’s first trillionaire and income inequality rapidly widening. Plainview confesses, “I have a competition in me. I want no one else to succeed.” It neatly sums up the endgame in which we find ourselves — and his vanquishing of the preacher Eli speaks to what we worship in the United States. He’s finished and sometimes it feels like we are too. — Glenn Whipp

See also: “The Wolf of Wall Street,” “WALL-E,” “Sorry to Bother You”

Post-Vietnam/Watergate cynicism

‘Nashville’ (1975)

Ronee Blakley in the 1975 movie “Nashville,” directed by Robert Altman.

(Paramount Pictures)

Could one movie capture the breadth of emotions around this year’s 250th anniversary celebrations as well as Robert Altman did the bicentennial? As the country was still reeling from the assassinations and discord of the 1960s, the despair of Vietnam and the scandals of Nixon and Watergate, there was a soul-baring uncertainty to what it even meant to be an American. With 24 main characters interwoven around the town of Nashville, home of country music and intersecting political undercurrents, the film tries to make sense of the chaos. While the conspiracy thrillers of the 1970s are seen as the most direct response to the moral malaise of the moment, Altman finds an unexpected way to gild his innate skepticism with a light filigree of hope, a complex quilt of characters capturing the contradictions inherent in the American identity. And yet as cynical and beaten-down as the film’s viewpoint can often be, there is still a spark of decency and perseverance. That is the America that Altman celebrates, even as he lets no one off the hook. Few films capture the hum of life in all its maddening beauty quite like this one. — Mark Olsen

See also: “Blow Out,” “The Conversation,” “The Parallax View”

‘Network’ (1976)

Robert Duvall, Faye Dunaway and William Holden in the 1976 movie “Network,” directed by Sidney Lumet.

(MGM Studios / Getty Images)

Much has been made over the years about how prescient this film was, as if screenwriter Paddy Chayefsky and director Sidney Lumet saw the constrictive dangers of corporate consolidation in the distance and came back to warn us. But if these rumbling premonitions have remained true across multiple eras of an ever-evolving media landscape, have we really learned anything? Perhaps we really do live in a “demented slaughterhouse of a world,” as the unhinged newsman Howard Beale says in one of his apocalyptic broadcasts, and have all along. Maybe what “Network” nails most of all is apathy: that even the most righteously committed can have their heads turned from their true goals and then struggle to get back on track. What may be most shocking rewatching the film today is the suspicion that some current media figures see the maneuverings of villainous executives played by Robert Duvall and Faye Dunaway and somehow think that they were the heroes of the story all along. Not even Lumet or Chayefsky would have predicted that. — Mark Olsen

See also: “Broadcast News,” “The Insider,” “Nightcrawler”

Gentrification and racial tensions

Spike Lee, left, and Danny Aiello in the 1989 movie “Do the Right Thing.”

(Universal Pictures)

‘Do the Right Thing’ (1989)

Spike Lee’s masterpiece was met with hand-wringing when it arrived in theaters 37 summers ago, with white critics fretting how “urban audiences” would react to its shocking ending of brutality and angry protest. “If some audiences go wild, [Lee] is partly responsible,” critic David Denby wrote in New York Magazine. Nobody rioted. “Do the Right Thing” made some people uncomfortable because it told truths from a Black perspective that they did not want to accept. That unwillingness to have hard conversations and learn from them remains evident today as we prepare to celebrate our nation’s 250th birthday without an honest reckoning of the anguish that lies beneath the storybook version of America’s founding. The paradox is that Lee’s movie is itself that conversation, its characters engaging in a series of arguments, evenhanded and empathetic, about how race affects the lives we lead in America. Until our country engages in that dialogue, nothing will change. For a moment, the Black Lives Matter movement signaled a willingness to grapple with the past. But the pendulum swung and we’re back to days of “Driving Miss Daisy” denial. But “Do the Right Thing” remains with us, its urgency and relevance undiminished, waiting for an America open to listen and live up to its idealized aspirations. — Glenn Whipp

See also: “Get Out,” “12 Years a Slave,” “Fruitvale Station”

The rise of the yuppies

Roddy Piper, left, and Keith David in the 1988 movie “They Live,” directed by John Carpenter.

(Universal Pictures)

‘They Live’ (1988)

“I believe in America,” the guy says, but we’re not in the private office of some all-powerful Corleone. Rather, this is a working man in a plaid shirt and denim. As the sun sets on his sad L.A. tent city (inspired by the real-life Justiceville), he only wants what everyone else wants: a hard day’s work for fair pay and the chance to get ahead. “It’ll come,” he says, serenely. He doesn’t know he’s in a John Carpenter movie — Roddy Piper was never put to better on-screen use — and that those keeping him down are, in fact, aliens hypnotizing us into an unseeing stupor as they carve up the world’s resources. Released at the tail end of Reaganomics, Carpenter’s most politically forward thriller now feels like a decoder ring for ’80s-era greed, detachment, complacency and ruthlessness. Carpenter meant us to to see his bug-eyed space invaders as yuppies. He also intended us to question whether we were selling each other out, just to join the “human power elite” for a tiny piece of pie. “They Live” looms just on the other side of appreciated. Many genre films say what our more prestigious dramas can’t about the creeping forces that are changing America; this one still feels like it’s getting away with murder. — Joshua Rothkopf

See also: “American Psycho,” “Invasion of the Body Snatchers,” “After Hours”

’80s women in the workplace

Harrison Ford, left, Melanie Griffith and Sigourney Weaver in the 1988 movie “Working Girl.”

(20th Century Fox)

‘Working Girl’ (1988)

Mike Nichols’ zeitgeisty hit opens on a shot of the Statue of Liberty hoisting her torch like a paycheck. Down by her green toes, Melanie Griffith’s Staten Island secretary Tess McGill ferries to Manhattan to type memos for important men. Tess has a job, not a career. But 1988 was the first year that female undergraduates outnumbered men on college campuses. Even without a degree, Tess is ambitious to climb the corporate ladder — once she swaps out her practical white sneakers for a pair of pumps. The script by Kevin Wade throws up hurdles of sexism and class snobbery, never sugarcoating how Tess’ male co-workers treat her like a blow-up doll. (Critics dismissed Griffith, too, until this performance earned her an Oscar nomination.) Yet note how her Ivy League-educated boss Katharine (Sigourney Weaver) isn’t immune to harassment either; she’s just mastered how to parry her colleagues’ advances. Fantastic as it is, “Working Girl’s” core flaw is that Tess can’t snag her seat at the conference table until she yanks Katharine out of it. Weaver said that when she showed the script to real-life working girls on Wall Street, they asked, “This awful secretary steals your man, wears your clothes, takes your office — who’s going to sympathize with her?” Millions did and still do. — Amy Nicholson

See also: “9 to 5,” “Baby Boom,” “Silkwood”

Digital alienation

Justin Timberlake, left, and Jesse Eisenberg in the 2010 movie “The Social Network,” directed by David Fincher.

(Merrick Morton / Columbia TriStar )

‘The Social Network’ (2010)

In 2010, Apple introduced the iPad, Instagram launched its app and Silicon Valley still looked to many tech-besotted Americans like a force for progress. At a moment when technology companies were promising to bring people closer together, David Fincher’s acerbic drama about the founding of Facebook had a darker theory about why people wanted to connect in the first place. Aaron Sorkin’s screenplay traces Facebook’s creation back to a very old human desire: getting noticed by the people who matter. Instead of celebrating innovation, the movie unfolds through lawsuits and broken friendships. At Harvard, Jesse Eisenberg’s Mark Zuckerberg fixates on the exclusive final clubs that won’t quite accept him. It’s a surprisingly sour approach for a Facebook origin story. Years before social media became a political battleground, Fincher was focused on something more basic — the fear that everyone else had been invited to a party you couldn’t get into. The movie ends with Zuckerberg alone at a computer, refreshing the Facebook page of the woman who dumped him and waiting for her to accept his friend request. More than 15 years later, it’s still hard to think of a better image for the loneliness and insecurity lurking beneath our connected lives. — Josh Rottenberg

See also: “Her,” “Eighth Grade,” “Ingrid Goes West”

Post-9/11 anxieties

A scene from the 2004 movie “Team America: World Police,” directed by Trey Parker.

(Melinda Sue Gordon / Paramount Pictures)

‘Team America: World Police’ (2004)

To add drama to the ennui over the 2000 U.S. presidential campaign, “South Park” creators Trey Parker and Matt Stone pledged to immediately produce a silly sitcom about the winner. “That’s My Bush!” ran for eight episodes in the spring of 2001, with plans to spin off into a feature called “George W. Bush and the Secret of the Glass Tiger.” But the Sept. 11 attacks changed everything, including the work of satirists. Parker and Stone pivoted to “Team America: World Police,” a bomb-throwing comedy about our country’s napalm-strength combination of naiveté and swagger. To prevent an attack hailed as “9/11 times a thousand,” a squadron of puppet commandos blows up the planet themselves. The dark joke is these marionettes aren’t behaving much differently than the action heroes who have shaped the national id — it’s a through-the-looking-glass lens into our Hollywoodized view of the globe, down to the Parisian streets made of cobblestone croissants. At once straight-faced, sacrilegious and scatological, “Team America” needed nine tries to eke past the MPAA. Yet in divided times, it was a unifier. The political spectrum from Kim Jong Il to Alec Baldwin got equally savaged and the film’s eff-yeah patriotic theme song (“Rock and roll! The internet! Slavery!”) could even be heard blaring from real-life tanks in Fallujah. — Amy Nicholson

See also: “Eddington,” “Idiocracy,” “Harold & Kumar Escape From Guantanamo Bay”

The Skerries 100 motorcycle road race has been abandoned after a fatal accident on Sunday.

The incident happened in the Junior Support race, which was the second race of the day.

A statement from the Loughshinny Motorcycle Supporters Club, which organises the races, said it “regrets to announced a competitor has sadly passed away following a tragic accident that occurred during a race”.

The organisers added the rider’s next of kin were being informed and more details would be released.

The Skerries 100, which takes place in County Dublin, was returning for the first time in four years after road racing was impacted by rising insurance costs in the Republic of Ireland.

Northern Ireland rider William Dunlop was the last rider to lose their life at the Skerries 100 in 2018.

On Saturday, his brother Michael, who has a record 36 wins at the Isle of Man TT, won the opening race at the 2026 races before the fatal accident.

The fatality is the third death at a road race on the island of Ireland in 2026.

On Friday, Irish rider James Walsh passed away after an accident at the Tandragee 100 road race in Northern Ireland six days earlier.

In May, Czech Republic rider Kamil Holan died in an accident in Superbike qualifying at the North West 200 international road race at Station Corner.

Later that month, English rider Dan Ingham was killed in an accident during a practice session at the Isle of Man TT.

Indonesian troops have recovered the body of American pilot Nicholas Goselin from the restive Papua region after he was killed by separatist ‘Bakusip’ rebels last week. The operation involved a 10-member team and three helicopters.

Armed groups in military-run Mali have launched renewed coordinated attacks in several towns across the country.

The assaults on Saturday targeted army positions, including a base used by its troops and Russian forces.

A separatist Tuareg-led group and a regional al-Qaeda affiliate claimed responsibility for the attacks, which took place more than two months after the capital, Bamako, and several other locations were targeted in a coordinated ⁠assault by the same groups.

Here’s what to know:

Where did the attacks take place?

In an initial statement, the Malian army confirmed attacks on five positions: in Aguelhok, Anefis and Gao in the north; Sevare in central Mali; and Kenieroba in the south.

The army later said the situation was “totally under control”, adding that 20 “terrorists” were killed in Sevare and six in Gao. One pro-government fighter was killed in Gao and four others were wounded, it said.

In a separate statement later on Saturday, the army said it had also repelled attacks in the central towns of Konna and Somadougou with the help of Africa Corps, a Russian-backed paramilitary group.

Videos posted on the Africa Corps’ Telegram channel on Sunday purported to show a drone attack targeting a rebel position in Anefis and a Russian soldier on top of a building at a base in Aguelhok. The footage could not be independently verified.

In Kenieroba, a major prison complex where members of Mali’s political opposition are held reportedly came under attack.

Who was behind the attacks?

A spokesperson for the ⁠Tuareg-dominated rebel group, the Azawad Liberation Front (FLA), told the Reuters news agency it was involved in the attacks.

The al-Qaeda-linked group Jama’at Nusrat al-Islam wal-Muslimin (JNIM) also claimed responsibility, saying in a statement it had attacked and taken control of at least seven positions held by the army or pro-government fighters. The claims could not be independently verified.

Who are these groups?

JNIM was formed in 2017 as a coalition between the Saharan branch of al-Qaeda in the Islamic Maghreb and Malian armed groups Ansar Dine, Katina Macina and al-Mourabitoun.

It is led by Iyad Ag Ghali, who founded Ansar Dine in 2012, and has fighters across the border areas of Mali, Niger and Burkina Faso.

JNIM’s main goal is to capture and control territory and to expel Western influences in its region of control. Some analysts suggested that JNIM may be seeking to control major cities and, ultimately, to govern the country as a whole.

The FLA was formed in 2024 from a coalition of separatist forces in northern Mali. Led by Alghabass Ag Intalla, it is engaging in the latest in a series of rebellions by the Tuareg fighting for self-determination and independence.

While often at odds, fighters from the two groups or their predecessors have also partnered on occasion to fight common enemies, namely Mali’s government and its allies.

In late April, they were behind a series of coordinated attacks that targeted locations across Mali and killed Defence Minister Sadio Camara.

What is Mali’s security situation?

Since gaining independence in 1960, Mali has experienced alternating cycles of political stability and instability, punctuated by rebellions, financial woes and military coups.

In 2012, ethnic Tuareg separatists, allied with fighters from an al-Qaeda offshoot, launched a rebellion that took control of the country’s north.

But the al-Qaeda-linked fighters swiftly pushed out the Tuareg rebels and seized key northern cities, triggering French military intervention in early 2013 at the request of the government.

In September 2013, Ibrahim Boubacar Keita was elected as Mali’s president. Under his government, the United Nations brokered a peace deal between the government and northern Tuareg groups fighting for an independent Azawad in 2015.

Keita was deposed in a military coup in August 2020 after months of mass protests over severe economic woes and the poor security situation.

In September that year, retired colonel and former Defence Minister Bah Ndaw was sworn in as interim president and coup leader Assimi Goita as vice president to lead a transitional government.

In May 2021, Goita seized power in a second coup and pledged to restore security. His government cut ties with Mali’s former colonial ruler, France, and expelled French forces and UN peacekeepers.

In December 2021, Goita invited the Russian mercenary group Wagner to support the military government in its fight against armed groups.

In June last year, Wagner said it would withdraw from Mali after more than three and a half years deployed there, but Russian mercenaries have remained in the country under the banner of the Africa Corps.

Alex Vines, the Africa programme director at the European Council on Foreign Relations, told Al Jazeera the recent attacks have squeezed the control of Malian authorities into “securitised enclaves and corridors”.

“This has not improved overall security,” he said, noting that armed groups in the country have been coordinating their military action rather than competing with each other.

“In this context, foreign military support has limited success,” he added.

Viewers need to be quick if they want to catch the harrowing tale exploring the “twisted depth of maternal love”

There are now just days left to stream a film viewers believe “everyone should watch” once in their lifetime.

Currently available on Netflix, the story centres around two children, Victoria and Lily, who are found abandoned in a dilapidated house in the woods years after the death of their parents. Experts are left completely baffled as to how they have survived with seemingly no food or resources around them.

The sisters are brought in to a safe facility where they are monitored by childhood behaviourists who believe they have likely been alone for five years.

In order to reintroduce them into society, the girls are taken in by their uncle Lucas (Nikolaj Coster-Waldau) and his partner Annabel (Jessica Chastain) who intend to provide them a safe and loving environment at home. However, they soon learn there is more to the case than first meets the eye.

The film in question is 2013 horror, Mama, which will be leaving Netflix at the end of the month. Viewers have until July 25 to stream it before it’s gone for good.

As per the official synopsis: “Annabel and Lucas are faced with the challenge of raising his young nieces that were left alone in the forest for five years…. but how alone were they?”

Alongside Oscar-winner Chastain and Game of Thrones alum Coster-Waldau, the cast also includes revered horror actor Javier Botet. Mama was directed by Andy Muschietti, famed for his work on the IT horror franchise, with Guillermo Del Toro also on board as an executive producer.

At time of writing the film has a Rotten Tomatoes score of 63 per cent from critics and 55 per cent from audiences.

“Mama expands a chilling short film into a full-length feature exploring the dark, twisted depth of maternal love,” penned one viewer, as a second declared: “Everyone should watch this movie at least once.”

“This is actually a pretty good movie,” said another. “I don’t understand the hate from some critics. I haven’t seen this movie in many years, but it has aged very well. It also has a lot of great scenes and creepy moments.”

Meanwhile a fourth watcher added: “I don’t know what it is about it, but this film somehow stuck with me. In my opinion, it does not get the credit it is due. Very atmospheric movie.”

Mama is now streaming on Netflix. It will leave the platform on July 25.

The high school football season is more than a month away, but fans seeking an early preview of teams with top quarterbacks, top receivers and top defensive backs have come to appreciate the annual Edison Battle at the Beach seven-on-seven passing tournament that is taking place on Saturday.

It’s the unofficial kickoff to teams getting serious because so many quality teams compete from 9 a.m. through the early afternoon in Huntington Beach, with food, music and lots of banter among parents. You know how much players like to rise up against players with better “star” rankings than them, and this is the tournament to see it play out.

It’s not about wins and losses — it’s about players testing themselves against great competition. This tournament has built credibility by showcasing teams competing at a high level, then shaking hands afterward.

Mission Viejo has won the last two tournaments at Edison, but the Diablos are spending the summer trying to figure out who will start at quarterback. Sophomore Brett Burnor and senior Nash McElree, a transfer from Texas, are competing. Could coach Chad Johnson really alternate quarterbacks like he did two years ago with Luke Fahey and Drai Trudeau?

“You never know,” he said.

The Trinity League is represented by St. John Bosco, Santa Margarita, Orange Lutheran, JSerra and Servite. Corona Centennial and its new quarterback, Jaden Jefferson, a transfer from L.A. Cathedral, is entered, along with San Diego’s likely No. 1 team, Cathedral Catholic, which boasts the No. 1 player in the state in USC commit Honor Fa’alave-Johnson. His appearance alone should attract plenty of Trojans fans, particularly for the 10:30 a.m. game against the likely No. 1 team in California, St. John Bosco.

Palos Verdes has four-year starter Ryan Rakowski at quarterback and standout defensive back Jalen Flowers. Rancho Cucamonga gets to show off many of its top skill-position players.

One interesting trend is that this tournament will feature some very good tight ends, a position that has become increasingly important in college football and the NFL but not so much in high school football in the era of spread offenses.

Mission Viejo’s Johnson said he has three tight ends with college offers, another rarity. He could join the Rams with his three-tight-end formation. He intends to use them against defenses that use odd-number fronts this fall. One of his most improved players is tight end Luke Karby, a Duke commit. Another is Arizona commit Max Markofski, who is 6 feet 4 and 228 pounds. Santa Margarita has tight end Luke Gazzaniga, a Kansas commit. Jaylin Smalls of Rancho Cucamonga is 6-4, 230 pounds and moving up recruiting boards.

This is the first opportunity for early clues as to how first-year coaches are doing at JSerra, Los Alamitos, Servite, Orange Lutheran, Long Beach Poly and Oaks Christian.

One of the always-interesting scenes is Edison coach Jeff Grady refusing to take the easy road when making the bracket, so he scheduled his team to open up against St. John Bosco at 9 a.m., perhaps hoping the Braves show up a little sleepy. Running back Maliq Allen has returned to the Braves after spending the spring at Inglewood.

Ocean View also is hosting a 32-team passing tournament in Huntington Beach on Saturday. San Clemente, San Juan Hills, Huntington Beach, Downey and Carson are the teams to watch.

Fearsome duo

Long Beach Poly might have the most decorated cornerback duo in JuJu Johnson, a UCLA commit, and Donte Wright, a Miami commit. Just watching them cover receivers on Saturday at Edison should be a highlight in itself. Johnson was injured last season, but few have raised their profile in the offseason more than him.

Poly is in Pool C and the duo gets to take on receivers from Capistrano Valley, San Diego Lincoln, Servite and Santa Margarita.

King/Drew fearing no one

King/Drew players participating in the Simi Valley tournament.

(Eric Sondheimer / Los Angeles Times)

This has been a fruitful summer for King/Drew of the City Section. The Golden Eagles have been driving around willing to play seven-on-seven against top Southern Section opponents, including visits to West Hills and Simi Valley.

It’s the same strategy Carson and Birmingham have taken to prepare for City Section play during the regular season. If you can compete with Southern Section teams, then you’ll do just fine against City Section opponents.

Makeo Smith, a 6-4, 265-pound sophomore lineman, figures to receive lots of attention after contributing as a freshman.

July 3 (UPI) — South Korea’s biopharmaceutical company Celltrion said Friday that its sales amounted to $840 million in the second quarter of this year, up 35.2% from a year earlier.

The firm noted that its operating income for the April-June period jumped 77.3% year-on-year to reach $280 million, lifting its operating profit margin to 33% from 25% a year ago.

Celltrion attributed the solid performance to an improved product mix and lower manufacturing costs. In particular, its newly launched products accounted for more than 60% of total revenue during the latest three months.

On the cost side, Celltrion said that profitability has gotbetter following the completion of post-merger integration. In late 2023, the Incheon-based company, located west of Seoul, merged with its sales affiliate, Celltrion Healthcare.

Celltrion expects growth momentum to strengthen in the second half, when the biosimilar industry typically benefits from increased government procurement deliveries and year-end inventory replenishment.

The company also plans to further broaden its pipeline of biosimilars and novel drugs beyond its current portfolio.

“This performance shows that our efforts to expand new products and improve profitability are beginning to deliver meaningful results, “Celltrion said in a statement.

“We expect stronger participation in major national tenders and continued growth from new products, which will be reflected more fully in the second half,” it added.

The share price of Celltrion rose 3.96% on the Seoul bourse on Friday, while the benchmark KOSPI gained 5.76%.

Farage served as Reform’s honorary president between March 2021 and June 2024. On 3 June 2024, he confirmed he was returning as party leader and standing in the general election. He became Clacton MP in July 2024.

Under parliamentary rules, new MPs must declare financial interests and “registrable benefits” received in the 12 months before their election.

The guidelines say purely personal gifts or benefits do not need to be registered.

When he became an MP, Farage registered a £9,253 trip to Belgium in April 2024 donated by Cottrell, and later added a £15,276 donation from Cottrell for a US domestic flight he provided in December 2024.

No other support from Cottrell is listed in the Register of Members’ Financial Interests., external

A spokesman for Farage said: “It comes as no surprise that the Sunday Times has chosen to publish this baseless and contrived story, covering a period of time when Nigel Farage was not even an active politician let alone an elected one, given that the newspaper backed the Labour Party at the last general election.

“Contrary to the story’s tone, no parliamentary rules have been broken.”

A source said Reform paid for Farage’s security and staff after his return to politics.

The source also denied Farage received accommodation from Cottrell – saying the MP did not stay at the London property.

The Parliamentary Standards Commissioner, Daniel Greenberg, is currently investigating whether Farage broke the rules over the £5m gift from British cryptocurrency investor Christopher Harborne in early 2024.

Farage has said Harborne gave him the money to pay for his personal security, adding the gift was “purely private” and “wasn’t political in any sense at all”.

Lib Dem MP Josh Babarinde has asked Greenberg to “get to the bottom” of the latest allegations linked to Farage’s support from Cottrell.

Babarinde has also asked Greenberg to confirm whether he will investigate the claims as part of the existing inquiry or as a separate matter.

A Labour Party spokesperson said: “Nigel Farage and Reform are engulfed in a huge and growing scandal.

“These new allegations of secret payments from a wealthy convicted criminal are on top of the ongoing scandal of his secret £5m gift from a crypto billionaire.

“How much money has he been given, what did his donors get in return, and why has he tried to cover them up and avoid legitimate questions?”

Responding to Jenrick’s interview, Labour said Reform “can’t shrug this scandal off and hope it goes away”.

I HAVE normally necked far too much Ouzo the night before to rise with the sun during a holiday in gorgeous Greece.

But my eyes are being opened, literally, to a much more wholesome and healthy way to start the day here on the island of Crete.

While my downward dog should arguably be put down, as my balance has gone walkies, the sound of the Cretan Sea gently lapping at the shore does make a sunrise yoga session surprisingly satisfying.

Never mind sinking sambuca shots, this is how holidays should be — relaxing, restful and geared towards recuperation.

I’m staying at Giannoulis Santa Marina Plaza, a 4* adults-only hotel tailored to a quieter and more authentic Cretan vacation.

Superbly serene, with a calming, child-free environment, it’s right on the golden, sandy, Blue Flag-rated Agia Marina beach.

READ MORE ON GREEK ISLANDS

SHELL SHOCKED

Bizarre rule that could see you stranded last-minute on Greek island holiday

RHODE TRIP

5 cheapest Greek islands this summer revealed with 7-night holidays from £249

My double room is small but comfortably formed, with an ensuite bathroom, TV and compact balcony to enjoy the sunrise over Kri-Kri island (more on that later).

With just 51 rooms and suites at this boutique hotel, even at full occupancy you’ll always get a sun bed.

The food is as good as you’d expect in Greece — super souvlaki, terrific tzatziki, outstanding olive oil — but the jewel in the crown is the hospitality.

From reception staff to the waiters and cleaners, this family-run resort is full of welcoming faces, attentive and always ready with a friendly “kalimera” (good morning) or “kalispera” (good evening).

The majority of guests are couples, over 50, enjoying the easy-going vibe.

By day, the only activity is people rising from a sun lounger for a refreshing dip in the pool or sea.

By night, it’s all about a game of cards on your balcony or a casual al fresco dinner by candlelight.

Crucially, this tranquil base is only 20 minutes — by bus, right outside the hotel, or taxi — from Chania, Crete’s charming old town, where ancient architecture meets a more modern city.

It’s an easy-on-the-eye cultural hub, with shops carved into honey-coloured stone walls, restaurants, cute cafes and churches.

After a few relaxed hours searching for souvenirs down its narrow, cobbled streets and snapping away at the beautiful Venetian harbour and 16th-century lighthouse, it’s time for a change of location, as I head west along the coast to Giannoulis’s sister hotel, Cavo Spada.

A much larger complex, with 150 deluxe rooms and suites, this sporty 5* leisure and spa resort is more suited to active holidaymakers. With tennis and padel courts, an assault course, a running track and indoor and outdoor gyms kitted out with top-quality equipment, its facilities are so good that the Swedish Olympic team use it for their training camps.

You can take part in a calendar of events ranging from spinning to body combat.

But that’s not my idea of a holiday.

Instead, I take advantage of the ­all-inclusive board to sample the decent cocktail menu at the bar overlooking the huge lagoon pool at the heart of the resort.

After over-exerting my right arm with the repeated lifting of a pina colada from table to mouth, I head to the on-site spa for a full-body massage, followed by a sauna and steam room.

Clearly a gem of a resort for keep-fit couples, it’s also a good option for families, with a kids’ outdoor playground and indoor play room.

And it’s just a short taxi ride from Kolymbari port, where I clamber aboard a catamaran for a half-day at sea. Destination — Kri-Kri island.

Our deckhand tells us of the ancient Greek mythology that Kri-Kri — AKA Thodorou island — was created when a massive sea monster and its child were turned to stone by Crete’s protector Poseidon, God of the Sea.

Now it’s a breeding ground for the protected Kri-Kri wild goat.

And while anchoring up for some paddleboard play and a snorkel in clear azure water, it’s fun to see if you can spot any of the cliff-climbing goats.

Having worked up an appetite thanks to all that, well, relaxing, back at the hotel’s Azzuro restaurant I really get stuck into a sensational a-la-carte option with Michelin star-worthy food.

After another cocktail workout (my right arm really is doing the heavy lifting on this break), I educate myself with two mainstays of Greek culture.

A complimentary olive-oil tasting session (FYI: trust the Cretan chef and store your olive oil in the fridge) is followed by wine-tasting with the hotel’s maitre d’.

I could quite easily finish a bottle of the white — an indigenous Vidiano.

But like I have done since arriving in Crete, I’m taking it easy — I’ve got another yoga session at sunrise.