Lets

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

The caption to this week’s top shot reads:

Cutaway display of a concrete masonry basement fallout shelter with an exercise bike, television and library, 1950s. (Photo by Pictorial Parade/Getty Images)

Also, a reminder:

Prime Directives!

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

The Bunker is open!

Contact the editor: Tyler@twz.com

With the Air Force Association’s conference next week, we went a little lighter on content today. We will have three reporters there. It’s the toughest week of the year for the team (outside of rolling coverage on conflicts) but also the most exciting. Stay tuned for many reports!

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

The caption to this week’s top shot reads:

A view inside the bunker in the Chernobyl Nuclear power plant during a press tour of the locations depicted in The Chernobyl Series (HBO), in Chernobyl, Ukraine, on 7 June 2019. The Chernobyl Series (HBO) , which depicts the Chernobyl nuclear power disaster’s aftermath, including the clean-up operation and subsequent inquiry, drives boom in tourists travelling to see the site of nuclear disaster. Tour agencies have reported up to a 40 per cent increase in bookings since the miniseries aired May 2019. On 2019 Ukraine marked the 33rd anniversary of Chernobyl nuclear disaster. The Chernobyl accident occurred on 26 April 1986 at the Chernobyl Nuclear Power Plant near the city of Pripyat, and regarded the biggest nuclear accident in the history. (Photo by STR/NurPhoto via Getty Images)

Also, a reminder:

Prime Directives!

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

The Bunker is open!

Contact the editor: Tyler@twz.com

META has launched a dizzying array of new hi-tech glasses – including a posh pair with a built-in screen for seeing apps.

The new specs were unveiled at today’s Meta Connect event by tech boss Mark Zuckerberg, alongside a genius AI that can create any video game that you dream up.

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Meta Connect is the company’s annual showcase for new gadgets and apps.

META RAY-BAN DISPLAY

This year, the headline product is the Meta Ray-Ban Display.

This is the company’s most advanced pair of smart specs to go on sale so far. The Sun’s Sean Keach has already tried them – read his Meta Ray-Ban Display hands-on impressions.

Regular Meta Ray-Ban smart glasses come with a built-in camera and microphone, and an AI assistant to answer questions – even about real-world objects that you’re looking at.

But the new Meta Ray-Ban Display glasses go one step further and feature a built-in screen.

This display is invisible to the outside world, so no one can see what you’re looking at.

But it can show you apps – like WhatsApp text chains, Instagram Reels, or your camera viewfinder – that float in your field of view.

You can even use it to see live captions over the face of someone speaking to you.

It’s a full-colour display but you can still see what’s going on behind the overlays.

You can even use it to follow directions that float in front of your eyes – but only for walking, not for driving.

They come with a Meta Neural Band, which goes on your wrist and detects tiny movements that let you control what you’re seeing.

So tap your fingers together to select, or roll your thumb to scroll.

The glasses start at $799 and are available from September 13 at limited stores in the US, followed by a UK release in early 2026.

They come in two colours, Black and Sand, with colour-matched Meta Neural Bands to go with them.

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META RAY-BAN GEN 2 GLASSES

The regular Meta Ray-Ban glasses have also been upgraded.

There’s now a new Gen 2 version that Meta says serves up twice the battery life of the old model.

And you’ll get 3K Ultra HD video capture too.

They’ll still feature the AI assistant, offer real-time translation, and music playback too.

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But now they’ll last eight hours with “typical use”, according to Meta.

And you can charge them up to 50% in 20 minutes, with a charging case that gets you an extra 48 hours of use.

There’s also an upcoming Conversation Focus mode that amplifies the voice of the person that you’re talking to.

So you can hear them better when you’re somewhere with a lot of ambient noise, like a busy restaurant.

There are some new styles too, given that this is effectively a fashion accessory as well as a gadget.

The new glasses go on sale today and start at $379 – with the Gen 1 version priced at $299.

META OAKLEY VANGUARD GLASSES

Meta has also teamed up with Oakley for some proper sports-friendly smart-glasses.

There’s a new product category called Oakley Meta Vanguard, which are meant for high-intensity activities.

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So think: outdoor cycling, mountain biking, trail running.

They have an “action-ready camera” built in, and a three-point-fit system plus three replaceable nose pads so you get a secure fit.

After all, you don’t want your posh specs falling off a cliff.

They have Oakley PRIZMTM Lens tech to block out sun, wind, and dust – and feature built-in speakers too, plus a five-microphone array that reduces wind noise.

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You’ll get nine hours of battery life from a pair – or six hours with continuous music playback.

And the charging case gets you an extra 36 hours of charge, with 50% refuelling for the glasses in 20 minutes.

You can also pair the glasses with Garmin and Strava to query your performance, and even overlay your exercise metrics on the video you capture.

The glasses start at £499 in the UK and $499 in the US.

META AI TO CREATE YOUR OWN GAMES

Meta also showed off a special tool that makes it extremely easy to create your own video games.

The games live inside Meta’s Horizon metaverse, which is a series of digital worlds that you can share with pals.

And now Meta has developed its AI helper to let you create massive virtual worlds, game textures, audio, skyboxes, and characters all just by typing in some words.

You can even generate custom voices for characters, give them personalities, and they’ll spring to life in seconds.

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The AI lets you create game rules and systems, spawn objects, and change what you’ve magicked up on the fly.

Importantly, you don’t need any experience of coding.

You just chat to the AI in a conversational way to edit your game, and it’ll generate automatically in just a few seconds.

Then you can invite friends to play in a custom video game that would normally have taken thousands of hours to create.

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ITV viewers first saw Jenny ‘The Vixen’ Ryan join The Chase back in 2015 as she’s quickly became a fan favourite over the years.

It looks as though Jenny Ryan may have given away how much The Chase’s Bradley Walsh makes on the ITV show.

In an exclusive clip for this Sunday’s episode of Beat the Chasers, (Sunday 14 September), it shows the long-running host address the beloved quizzers, after one of the ITV stars recently touched on Mark Labbett’s ego.

Sharing a stat, he commented: “Last series, we gave away £700,000!”

Despite the audience sounding visibility impressed, Bradley couldn’t help but take a swipe at their losses.

The 65-year-old continued: “More to the point, when I say we gave away, I mean you lost £700,000!

“Now, what would you have done with that £700,000 had we not lost it. When I say we, I mean you.”

Jenny was the first to respond to Bradley’s question as she decided to put a different spin on his outlook.

She replied: “I have to think about it positively rather than negatively. By catching contestants, the chaster saved the show £20 million. Or as ITV calls it, two-thirds of a Bradley!”

Her fellow quizzers laughed at her remark, although Bradley ignored the probe and addressed Shaun Wallace instead.

Known as The Dark Destroyer, he told Bradley it was obvious what he’d do with the money, had they not lost.

He said: “A first copy edition of Chasing the Dream by Shaun Wallace!” Taking a cheeky jibe at his co-star, Darragh Ennis replied: “700,000 copies more like!”

Paul Sinha explained that if there was that much extra money in the budget, they could afford to have Shane Ritchie host instead of Bradley.

Although it seemed as though the ITV presenter took the comment in good humour as he burst out laughing before giving him a round of applause.

Looking into the camera, he said: “Come on over, Shane! You can do it mate.”

Beat the Chasers airs Sundays at 8pm on ITV1

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

The caption to this week’s top shot reads:

2nd December 1950: One of the main tunnels at Clapham Deep Shelter used to accommodate visitors to the Festival of Britain. The shelter can take 4000 people, is served by limited lift facilities, with electric light and ventilation. (Photo by Norman Vigars/Fox Photos/Getty Images)

Also, a reminder:

Prime Directives!

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

The Bunker is open!

Contact the editor: Tyler@twz.com

WASHINGTON — Chief Justice John Roberts on Monday let President Trump remove a member of the Federal Trade Commission, the latest in a string of high-profile firings allowed for now by Supreme Court.

Trump first moved to fire Rebecca Slaughter in the spring, but she sued and lower courts ordered her reinstated because the law allows commissioners to be removed only for problems like misconduct or neglect of duty.

Roberts halted those decisions in a brief order, responding to an appeal from the Trump administration on the court’s emergency docket.

The Justice Department has argued that the FTC and other executive branch agencies are under Trump’s control and the Republican president is free to remove commissioners without cause.

Slaughter’s lawsuit over her firing will keep playing out, as Roberts asked her lawyers to respond to the Trump administration’s arguments by next week.

The court has previously allowed the firings of several other board members of independent agencies. It has suggested, however, that his power to fire has limitations at the Federal Reserve, a prospect that could soon be tested with the case of Fed Gov. Lisa Cook.

Monday’s order is the latest sign that the Supreme Court’s conservative majority has effectively abandoned a 90-year-old high court precedent that protected some federal agencies from arbitrary presidential action.

In the 1935 decision known as Humphrey’s Executor, the court unanimously held that presidents cannot fire independent board members without cause.

The decision ushered in an era of powerful independent federal agencies charged with regulating labor relations, employment discrimination, the airwaves and much else. But it has long rankled conservative legal theorists who argue the modern administrative state gets the Constitution all wrong because such agencies should answer to the president.

The agency at the center of the case was also the FTC, a point cited by lower-court judges in the lawsuit filed by Slaughter. She has ping-ponged in and out of the job as the case worked its way through the courts.

The FTC is a regulator created by Congress that enforces consumer protection measures and antitrust legislation. Its seats are typically comprised of three members of the president’s party and two from the opposing party.

Whitehurst writes for the Associated Press. AP writer Mark Sherman contributed to this report.

McLaren have been determined to keep the fight between their two drivers as fair as possible but their approach was always likely to lead to controversy at some point.

That was certainly the case at Monza, as they interfered after the sort of twist of fate that often turns driver’s races.

Norris unquestionably deserved the second place on the balance of the race, but his pit stop problem left the team with an agonising quandary.

It is normal practice to pit the lead driver first in such a scenario but McLaren decided they wanted to pit Piastri first, saying they made the decision to ensure he was clear of Ferrari’s Charles Leclerc, who had pitted earlier on a conventional strategy.

Norris questioned it when told of the decision, saying he was fine “as long as there was no undercut”, which would be him being passed by Piastri going faster on his out lap. He was assured there would be no such thing.

Piastri’s stop was faultless at 1.9 seconds but Norris’s front right wheel gun had a problem and his stop was 5.9, so Piastri was in the lead when Norris re-emerged on to the track.

Piastri was immediately told to let Norris back past. His engineer Tom Stallard said: “Oscar, this is a bit like Hungary last year. We pitted in this order for team reasons. Please let Lando past and then you are free to race.”

Piastri replied: “I mean, we said a slow pit stop was part of racing, so I don’t really get what’s changed here. But if you really want me to do it, then I’ll do it.”

After the race, Norris said: “Every now and again we make mistakes as a team. Today was one of them.”

The point of view of both drivers is understandable, and it will be interesting to see how McLaren manage this in the increasing tension of a title fight.

Speaking to Sky Sports later, Piastri was accepting of the decision, saying: “The decision to swap back was fair. Lando was ahead of me the whole race. I don’t have any issues with that.”

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

The caption to this week’s top shot reads:

Europe. Germany. Rheinland. Area of Bonn. District of Ahrweiler. Bad Neuenahr. Regierungsbunker. Secret Bunker Buit By The Government of Bonn As An Emergency Site of the Constitutional Bodies of the Federal Republic of Germany. Control of A Huge Armored Door Europa. Germany. Rhineland. Bonn Area. Ahrweiler District. Bad Neuenahr. Regierungsbunker. Secret Anti-atomic Bunker Built By The Bonn Government As An Emergency Location For The Constitutional Bodies of the German Federal Republic. Controls of A Huge Armored Door. (Photo by: Giulio Andreini/UCG/Universal Images Group via Getty Images)

Also, a reminder:

Prime Directives!

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

The Bunker is open!

Contact the editor: Tyler@twz.com

Last fall, indie pop auteur Tei Shi immersed herself in the British Columbia backwoods during a creative retreat — an experience that helped her reclaim artistic control over her decade-long career.

Out Friday, the Canadian Colombian singer shares her most intimate album to date, “Make believe I make believe,” a 10-track record she’s self-releasing through Tei Shi LLC and the Orchard.

“Being back home, reconnecting with family and old friends, and working without any outside voices or pressure — no label, manager, or restrictions — allowed me to fully dive into my mind and emotions,” says Tei Shi in a statement.

The 35-year-old singer-songwriter attended the weeklong retreat in Vancouver Island, Canada, with longtime collaborators Noah Beresin (co-creator of the alternative hip-hop project Chiddy Bang) and Tommy English (the record producer behind many of Børns’ hits).

“The result is a really versatile collection that captures a wide range of feelings and touches on sonics from Canadiana to neo-perreo,” she adds.

Since emerging in the music scene with her breakthrough 2013 debut EP, “Saudade,” and follow-up 2015 EP, “Verde,” Tei Shi — whose real name is Valerie Teicher Barbosa — remains untethered to a genre, ebbing and flowing between dream-pop, indie folk and shoegaze.

Her new, fourth studio album expands on the 2024 LP, “Valerie,” her first independent project, which was released after departing her previous label, Downtown Records (then under Geffen), which left her feeling creatively wounded. With new control of her artistic vision, unfettered by the demands of the mainstream music industry, the move has allowed Tei Shi to release songs in both English and Spanish.

This time around, the artist leans into her multicultural identity, experimenting whimsically with what she has lovingly dubbed Canadianatón — a sonic palette inspired by her upbringing in Vancouver’s mountainous terrain and the melancholic Latin ballads she was raised with.

She digs further into the gritty neo-perreo sound with tantalizing tracks like “222,” featuring Loyal Lobos, and the sticky, synth-laden melody of “Don’t Cry.” In contrast, Tei Shi’s feathery vocals float lightly over a sensual bolero beat in “Aphrodite.”

In the album’s focus track, “Montón,” an upbeat reggaeton track, the artist surrenders herself to the natural motions of love and lust.

“‘Montón’ is a song about falling for someone, crushing hard and giving into it,” says Tei Shi. “I picture it as a late night with your bb, up all night just the two of you in your room, dancing together and tuning out the world.”

It also wouldn’t be a complete Tei Shi album without the thoughtful layering of ethereal beats, most evident in the advance single “Best Be Leaving,” which echoes the essence of legendary dream-pop band Cocteau Twins.

The “Bassically” singer also dropped details on her upcoming U.S. headline tour, which kicks off Sept. 26 in Los Angeles’ Lodge Room. Tei Shi will make a stop in 11 other North American cities, including stops in Washington, D.C., New York, Chicago, Toronto and more.

For full dates and ticket info, visit https://teishi.world/.

Welcome to Bunker Talk. This is a weekend open discussion post for the best commenting crew on the net, in which we can chat about all the stuff that went on this week that we didn’t cover. We can also talk about the stuff we did or whatever else grabs your interest. In other words, it’s an off-topic thread.

The caption to this week’s top shot reads:

GREAT FALLS, MONTANA, 2014 – Missile combat crew member 1st Lt. Katie Grimley slides a large floppy disk into a 60’s era communication module inside the launch control center of a missile alert facility at Malmstrom Air Force Base. The U.S. govt. is embarking on a $400 billion modernization to its nuclear weapons arsenal. (Photo by Robert Gauthier/Los Angeles Times via Getty Images)

Also, a reminder:

Prime Directives!

• If you want to talk politics, do so respectfully and know that there’s always somebody that isn’t going to agree with you. 
• If you have political differences, hash it out respectfully, stick to the facts, and no childish name-calling or personal attacks of any kind. If you can’t handle yourself in that manner, then please, discuss virtually anything else.
• No drive-by garbage political memes. No conspiracy theory rants. Links to crackpot sites will be axed, too. Trolling and shitposting will not be tolerated. No obsessive behavior about other users. Just don’t interact with folks you don’t like. 
• Do not be a sucker and feed trolls! That’s as much on you as on them. Use the mute button if you don’t like what you see.  
• So unless you have something of quality to say, know how to treat people with respect, understand that everyone isn’t going to subscribe to your exact same worldview, and have come to terms with the reality that there is no perfect solution when it comes to moderation of a community like this, it’s probably best to just move on. 
• Finally, as always, report offenders, please. This doesn’t mean reporting people who don’t share your political views, but we really need your help in this regard.

The Bunker is open!

WASHINGTON — A divided panel of appeals court judges ruled Wednesday that the Trump administration can suspend or terminate billions of dollars of congressionally appropriated funding for foreign aid.

Two of three judges from the U.S. Court of Appeals for the District of Columbia Circuit concluded that grant recipients challenging the freeze did not meet the requirements for a preliminary injunction restoring the flow of money.

In January, on the first day of his second term in the White House, Republican President Trump issued an executive order directing the State Department and the U.S. Agency for International Development to freeze spending on foreign aid.

After groups of grant recipients sued to challenge that order, U.S. District Judge Amir Ali ordered the administration to release the full amount of foreign assistance that Congress had appropriated for the 2024 budget year.

The appeal court’s majority partially vacated Ali’s order.

Judges Karen LeCraft Henderson and Gregory Katsas concluded that the plaintiffs did not have a valid legal basis for the court to hear their claims. The ruling was not on the merits of whether the government unconstitutionally infringed on Congress’ spending powers.

“The parties also dispute the scope of the district court’s remedy but we need not resolve it … because the grantees have failed to satisfy the requirements for a preliminary injunction in any event,” Henderson wrote.

Judge Florence Pan, who dissented, said the Supreme Court has held “in no uncertain terms” that the president does not have the authority to disobey laws for policy reasons.

“Yet that is what the majority enables today,” Pan wrote. “The majority opinion thus misconstrues the separation-of-powers claim brought by the grantees, misapplies precedent, and allows Executive Branch officials to evade judicial review of constitutionally impermissible actions.”

The money at issue includes nearly $4 billion for USAID to spend on global health programs and more than $6 billion for HIV and AIDS programs. Trump has portrayed the foreign aid as wasteful spending that does not align with his foreign policy goals.

Henderson was nominated to the court by Republican President George H.W. Bush. Katsas was nominated by Trump. Pan was nominated by Democratic President Joe Biden.

Kunzelman writes for the Associated Press.

A mixed martial arts fight card to be held next summer at the White House is “absolutely going to happen,” Ultimate Fight Championship Chief Executive Dana White said Tuesday.

White said the UFC will stage the event July 4 to celebrate America’s 250th birthday. He added that he spoke to President Trump on Monday and is scheduled to meet with him and his daughter Ivanka in two weeks to solidify the plan.

Trump mentioned last July 4 during a kickoff of events centered on the country’s 2026 birthday celebration that he wanted to stage a UFC match on the White House South Lawn with 20,000 spectators.

“We have a lot of land there,” said Trump, who has attended several UFC matches and considers White a friend.

Now it has gone from a notion into the planning stages, which is the second thrill of the week for White. On Monday he announced that the UFC has finalized a seven-year streaming agreement with Paramount worth an average of $1.1 billion a year. The deal represents a departure from UFC’s traditional pay-per-view model.

Thirteen marquee UFC events and 30 fight nights will be televised on the Paramount+ streaming platform, with some events also planned to simulcast on CBS. Plans for UFC events in other countries are also on the table, according to Paramount.

“You have the NFL, the NBA, the UFC and soccer globally,” White told the Associated Press. “We’re coming. We’re coming for all of them.”

White, 56, has been the driving force behind the enormous growth of the UFC, which he purchased in 2001 for $2 million. He negotiated broadcast-rights deals with Fox and ESPN, then spearheaded a $4-billion sale in 2016 to TKO Group Holdings, a group led by the Hollywood talent agency WME-IMG. White remained as president and retained a stake in the new company.

The Paramount-UFC deal came on the heels of Skydance and Paramount closing their $8-billion merger — a complicated negotiation that resulted in the creation of an entertainment giant. White said he was impressed with Skydance Chief Executive David Ellison’s vision for UFC and how the plans could be activated now that Ellison is chairman and chief executive of Paramount.

“Live sports continue to be a cornerstone of our broader strategy — driving engagement, subscriber growth, and long-term loyalty,” Ellison said in a statement. “The addition of UFC’s year-round must-watch events to our platforms is a major win.”

The debut Paramount fight card is in the planning stages, with UFC officials meeting this week to arrange bouts. White said it is too early to discuss a main event for the White House card.

A TikTok user has shared a genius packing hack to help you fit more clothes in your case – and it doesn’t involve using packing cubes, which she said “don’t save any space”

For those nipping off on quick holidays this summer, paying extra for a large suitcase in the plane’s hold just doesn’t make sense.

Here’s where a bit of packing savvy comes in handy, be it with a compact wheely case, a rucksack or a holdall that you can take into the cabin with you.

All the rage amongst holidaymakers on social media right now are packing cubes, praised for their ability to keep suitcases neat and make more room. But now, people are discovering an old-school packing tactic does the job equally well – and it’s said to squeeze ‘months’ worth of clothes in.

READ MORE: Little-known plane rule means Brits risk being hit with £53 fines onboard

This smart technique was shown off on TikTok by @joanna. pirog, who ditched her organising cubes for a better, cheaper approach when preparing for a getaway.

She demonstrated with an unfilled suitcase surrounded by clothes she intended to take; she rolled each item tightly and methodically popped them into the bag, reports the Liverpool Echo.

She managed to fit a selection of dresses, tops, t-shirts, skirts and shorts with room to spare and, despite appearing full, Joanna found space for even more by wedging them into small crevices.

According to her, rolling clothes meant she could get three months’ worth of belongings into just one small suitcase.

In her caption, she said: “Packing cubes don’t save space, roll your clothes and you’ll fit so much more!”.

In the video’s comments, people agreed that packing cubes were pretty useless unless you’re carrying a massive suitcase.

“I’m with you on the packing cubes. I just find they make it so much worse,” one viewer said. Another chimed in: “I’m so impressed.”

Joanna pointed out that while she travelled across Europe with her luggage, most airlines didn’t bother to check its weight – but if you do get caught out and it’s too heavy, you could be slapped with a fee to chuck it in the hold.

If you’re looking for another packing trick to try this summer and you don’t want to resort to packing cubes, influencer Chantel Mila has just the thing.

She has recommended standing your suitcase upright, rather than laying it flat on the floor, and packing your belongings vertically in columns.

Not only will this help to maximise space, but you’ll be able to see everything in your case much more clearly, which will make unpacking so much easier when you reach your destination.

If you want ideas and inspiration to plan your next UK adventure plus selected offers and competitions, sign up for our 2Chill weekly newsletter here

Embeth Davidtz’s home is so quiet. Nestled in Brentwood Park, the 59-year-old actor’s spacious yet cozy place feels like a sanctuary, the skylight in her kitchen offering plentiful afternoon sun. Once owned by Julie Andrews, the house is where Davidtz feels most comfortable. It’s taken most of her life to find somewhere that made her feel that way.

“I seldom leave,” she says, smiling. “I’m not someone who likes to run around. I like being here.”

She’s lived in this house for about 20 years — it’s where she and her husband raised their children, now 22 and 19. She moved to Los Angeles in 1991 and before then, hers was a completely different world. Lately, that world has rarely been far from her thoughts.

In the early 1970s, when Davidtz was eight years old, she moved from America with her South African parents to Pretoria, in the midst of that country’s apartheid system. Long wanting to come to terms with the institutional racism she witnessed during her childhood, she has done something that previously had never held much interest: write and direct a movie. Pivoting from an on-screen career of stellar, precise performances in movies like “Schindler’s List,” “Junebug” and “Bridget Jones’s Diary,” Davidtz has at last made a directorial debut with “Don’t Let’s Go to the Dogs Tonight” (in theaters Friday), a gripping and somber drama based on Alexandra Fuller’s acclaimed 2001 memoir about growing up in colonial Rhodesia (now Zimbabwe). The film is about Fuller’s family, but it’s also very much about the lessons Davidtz never wants to stop learning herself.

“It’s a constant processing,” she says of how she is always reckoning with her past. “I think I’ll probably have to grapple with it till the day that I die — what I remember seeing.”

Davidtz, Lexi Venter and Rob Van Vuuren in the movie “Don’t Let’s Go to the Dogs Tonight.”

(Coco Van Oppens / Sony Pictures Classics)

Set in 1980, the year that the African region known as Rhodesia, ruled by a white minority, would become the independent nation of Zimbabwe, “Don’t Let’s Go to the Dogs Tonight” features Davidtz as Nicola, an angry, alcoholic policewoman whose privileged life crumbles as the Zimbabwean War upends the country’s racial power imbalance. However, the movie is not told from Nicola’s perspective but instead, from that of Bobo, her 8-year-old daughter (played with beguiling immediacy by newcomer Lexi Venter), who reflects Fuller’s own blinkered worldview at the time. As Bobo provides voice-over narration, we witness a disturbingly naturalized culture of colonialism in which our main character, a seemingly innocent child, bikes through town with a rifle slung on her back and parrots the racist attitudes espoused by white landowners around her.

Zimbabwe isn’t South Africa, but when Davidtz read Fuller’s stark memoir, the similarities of racial injustice were striking.

“She cuts you off at the knees,” says Davidtz. “You recognize it, then you feel shame.”

Davidtz was born in Indiana, but after some time in New Jersey, her family moved to Pretoria when she was eight. Her 17 years in South Africa left their mark. Even though she’d never written a screenplay before “Don’t Let’s Go to the Dogs Tonight,” she had been working on something about her upbringing. But after reading Fuller’s memoir, Davidtz says, “I remember thinking, ‘Well, that’s the definitive book on it. I’m never going to be able to write a book like that.’”

“I wouldn’t say mine was a happy childhood,” she continues. “I think it was very unhappy in ways. Did I love Africa? Yes. But was it an idyllic childhood? No.”

Bobo’s bigoted views — the girl has come to believe Black people don’t have last names and are secretly terrorists — weren’t what Davidtz experienced growing up. “My family didn’t act that same way, they didn’t speak that same way, but you were part of the system by being there,” she says.

Like Bobo’s family, Davidtz did not enjoy many luxuries, except in comparison to the help around her. “If you had servants in your home, you were part of the system,” she says. “[My parents] certainly were not out marching for civil rights. They fell in that gray area.”

Not that Davidtz excludes herself from the racist mindset that’s evident in Bobo, who enjoys spending time with her family’s housekeeper, Sarah (Zikhona Bali), despite treating her as beneath her. That relationship picked an emotional scab for Davidtz. “There’s uncomfortable memories that I have,” she admits. “I remember playing with [Black] children and being bossy and being just an a—hole.”

Her personal connection to “Don’t Let’s Go to the Dogs Tonight” goes deeper. Fuller’s mother was a drinker; in Davidtz’s family, it was her father, who studied applied mathematics and physics in the States. She sees his alcoholism as the byproduct of an idealism that got crushed.

“He was a physical chemist; he was a scientist,” she says, “and his whole thought was this altruistic thing of, ‘I’m going to take everything that I’ve learned and bring it back [to South Africa].’ That’s where the alcoholism emerged. That government that was running South Africa really tightly controlled everything that my father did. I think they were highly suspicious of somebody coming from America. He very much felt his wings were clipped. And so the bottle got raised.” (These days are happier ones for her dad: “He’s medicated; he’s calmer,” she says. “He doesn’t drink anymore.”)

“This [performance] was hard and it was scary, but it was necessary,” Davidtz says of her turn in “Don’t Let’s Go to the Dogs Tonight” as a racist farm owner in Rhodesia.

(Matt Seidel / For The Times)

Davidtz can’t quite pinpoint where her passion for performing originated. “No one else has it,” she says of her family. “I really think that 7-year-old me sat in my living room in New Jersey watching the ‘Sonny & Cher’ show. Cher with that hair was just the most glamorous, amazing thing I’d ever seen. And then, suddenly, we land in this dirty, dusty farmhouse with my dad in decline and no television.”

Davidtz escaped Pretoria — at least in her mind — by going to the movies, including an early, formative screening of “Doctor Zhivago,” David Lean’s 1965 historical romance. “My mind was blown by the sweep, the story, the epicness,” she recalls. “Maybe I wanted, somehow, to remove myself from that dirt and squalor and aspire to something.”

“Don’t Let’s Go to the Dogs Tonight” doesn’t contain the gratuitous violence you often see in films about racism. In its place is a codified class structure ruled by its white characters, who strongly encourage the locals to vote for approved candidates in the upcoming election in order to maintain the status quo. But once revolutionary Robert Mugabe comes to power, that old system gives way, leading to an unsettling scene in which Nicola wields a whip to keep Black Africans off what she considers to be her farm.

The questionable optics of a white woman telling a story about Zimbabwe entered Davidtz’s mind. She did her homework about the region, even though she ultimately had to shoot in South Africa because of Zimbabwe’s current political unrest. She spoke with her cinematographer, Willie Nel, about how the film had to look.

“I need the light shining through her eyes like that,” Davidtz remembers. “I want the closeup on the filthy fingernails. This is the way Peter Weir gets in super-close, how Malick [shows] skies and nature.” And she made sure to center her pessimistic coming-of-age narrative on the white characters, condemning them — including young Bobo.

“I don’t think a Black filmmaker could tell the experience of a white child,” she says. “I think only a white filmmaker could tell that. [Bobo] misunderstands a lot of what [the Black characters are] doing. That was deliberate — I tried to handle that really carefully. I’m certainly not trying to make the white child sympathetic in any way.”

She was just as adamant that Nicola be an utterly unlikable, virulent bigot. “You needed her to be diabolical in order to show what really was happening there,” says Davidtz. “I saw people behave like that.”

This isn’t the first time she’s played the villain, but she wanted to ensure there was nothing sympathetic or devilishly appealing about Nicola. Recalling her portrayal of the superficial, materialistic Mary Crawford in the 1999 adaptation of “Mansfield Park,” Davidtz observes, “She was just cheerfully going about her life — being diabolical, but with a smile. She was charming. That was more acceptable, more palatable.” She allowed none of that here, tapping into the desperation of a woman whose self-worth is wrapped up in the subjugation of those around her.

The veteran actress has often done terrific work by going small, her breakthrough coming as a Jewish maid prized by Ralph Fiennes’ sadistic Nazi in 1993’s “Schindler’s List.” More recently Davidtz has earned rave reviews in series like “Ray Donovan” and “The Morning Show.” She doesn’t do showy and she’s the same in person, appealingly modest and soft-spoken. But in “Don’t Let’s Go to the Dogs Tonight,” she gives a boldly brazen performance as Nicola, a portrait of ugly, entitled hatred. Although Davidtz felt anxious playing such a demonstratively racist character — especially around her Black cast — she also found it a refreshing change from how she usually approaches a role.

“This [performance] was hard and it was scary, but it was necessary,” she says, Getting herself to such a dark place for “Don’t Let’s Go to the Dogs Tonight” was easy, though. The trick? “I didn’t have time,” she says. “Everything was focused on only the three hours [a day] that I had with the kid. It was like, ‘I got to get this quick,’ and I was on my last nerve, which was great for the character — I was pretty worn down by the time we shot a lot of my stuff.”

“When you’ve been in a place where things have been so wrong, you spot it really quickly in other places,” Davidtz says of injustices occurring both in America and abroad. The actor and director is photographed at home with her two rescue dogs, Parfait (front) and Zoomie.

(Matt Seidel / For The Times)

Similarly to “The Zone of Interest,” which Davidtz reveres (“I love that film,” she declares, awed), “Don’t Let’s Go to the Dogs Tonight” illustrates the insidiousness of bigotry by stripping away the simplistic moralizing. Bobo, her parents and the other white settlers benefit from an unjust system, always presented matter-of-factly, as the adults relish their domestic bliss at the expense of the indentured locals. I ask Davidtz if she’s showing us what everyday evil looks like.

“Evil’s a strong word,” she replies. “I’d say ‘oblivious’ or ‘unconscious’ or ‘culpable.’ It’s all of the above. I really wanted to reveal something the way ‘The Zone of Interest’ revealed something. It’s the casual racism. An ordinary person watching [the film] goes, ‘Oh, my God, that was normal to them. That was their normal.’ Then you see the full picture. Then, the evil of it shows up.”

In her memoir, author Fuller writes about her later political awakening, a process Davidtz underwent as well. “I saw moments around me — horrible, violent police arresting men on the streets, the people chucked into the back of police vans,” she says. “Just that terrified feeling inside and knowing, ‘If you’re white, you’re safe. If you’re Black, you’re not.’ Then as I got older, [there was] the disconnect between what I’m seeing and what is right.”

According to Davidtz, “the scales fell off” once she attended South Africa’s liberal Rhodes University in the early 1980s and started taking part in protest marches. “I felt like that was the big awakening,” she says, “but it’s an awakening that continues.”

There is one frequent sound in the calm oasis of Davidtz’s home: the chatter of news broadcasts. “It’s often on in the background,” she says, “but I think it’s a habit that’s eroding my peace of mind.” She admits to the same conflicted feelings many in Los Angeles have, a desire to stay informed of everything that’s happening — the ongoing war in Gaza, the stories out of Ukraine, the violent ICE raids in Southern California — but not succumb to despair and anger. No amount of quiet can tune out the world, and Davidtz doesn’t want to.

“When you’ve been in a place where things have been so wrong, you spot it really quickly in other places,” she says of the injustices occurring both here and abroad. “One thing that we can do is say what we think.” Remembering her own childhood, and pondering what prompted her to make this movie, she suggests, “I think it comes from watching something silently for a long time. I think that part of me will never want to not say, ‘I don’t think this is right.’”

With “Don’t Let’s Go to the Dogs Tonight,” Davidtz is speaking up, but she knows those bad old days aren’t over. In fact, they’ve never been so present. As the film ends, Bobo takes one last look at the town and the locals that shaped her. There’s a glimmer of hope that, one day, this girl will outgrow the racism she’s ingested. But the land — and the pain — remains. Davidtz has not allowed herself to look away.