But West Ham fought back after the break, earning a late share of the spoils thanks to quick-fire goals from Konstantinos Mavropanos and Mohamadou Kante, who was later sent off for a last-man foul on Kyrell Lisbie. Follow Millwall vs West Ham reaction live below, including analysis from Standard Sport’s Arthur Ferridge at The Den.

Marlon James’s 2026 novel, The Disappearers, has already been hailed as the novel of the century by The New York Times, and it is certainly magnificent and explosive in equal measure. Its success lies in the way its artistic execution dovetails with its highly charged subject matter.

The Disappearers pulls the reader into a seemingly knowable time and place – the Jamaica of 1988 to 2005. Yet what James seeks to make known and felt is not to be found in any record or archive. Focusing on the experiences of men who love, desire, and have sex with men in a virulently homophobic Jamaican society, this is a novel that explores a silenced history with astonishing depth and detail.

In my own work, I have published literary criticism that argues for the Caribbean as a constitutively queer, as well as a homophobic, space and I found The Disappearers to be a powerful literary reckoning with this hidden past. It strives to bear witness to the harm done to young and old men, with the damage inflicted on masculinity, with the volatile entanglements of vulnerability and exploitation, and with the ferocity and survival of queer intimacy. All of this in a city and a time where dancehall lyrics, Aids, and evangelical sermons created a crucible of loathing that legitimised violent denial.

The action, initially narrated through the diary entries of Eddy Porteous, begins as eight men gather to rehearse John Herbert’s provocative and unsettling 1967 US prison play Fortune and Men’s Eyes about homosexuality and sexual power play. As Havelock Titus, the director, declares: “The love that dares not speak its name, shouts all sorts o’ ways in prison. Even in a Jamaican prison.”

To perform homosexuality is undoubtedly an endeavour fraught with risk. However, the rehearsal room is a rare and briefly held space to live it and “to be part of something that tells Jamaica to go fuck herself”.

When a homophobic mob storms a rehearsal intent on killing those gathered there, the assault is narrated episodically in the voices of the perpetrators. The prose thrums with the righteous hatred and exhilaration of abhorrence that accompanies their acts of violence. By the end of the evening, one man is murdered, one blinded, and all carry injuries that can never be healed. Shortly afterwards, two of the men, Matt Chin and Orrin Turner, disappear.

The narrative resumes six years later, and the search for the disappeared follows multiple pathways through many eyes, as the novel makes it clear that gay men in Jamaica disappear way before anyone notices they’ve gone. The farce of queer denial is captured by one of the eight’s imagined intervention:

a Day Without the Gay, one morning where none of us show up for work … Can you imagine? Battyman and lesbian cleaning their house, cooking their food, teaching their kids, curing their sickness, and literally saving their lives every fucking day. You think they would see us then? … The only way for them to see us is for us to disappear.

But who wants to be seen when it means being outcast by family, vanished by closeted lovers and clients? And besides, survival often depends on invisibility and passing “given that a battyman has a sign on his back that says ‘Kill us any which way then move on’”.

This is not new territory for James. His eye for the snarled and performative character of Jamaican hypermasculinity and the co-existence of its homophobic and queer incarnations showed itself in his third novel A Brief History of Seven Killings. Here we see it through Weeper, the gang enforcer of West Kingston, who still writes letters to the man he loved in prison.

Yet what is a fleeting, if compelling, chronicle in Brief History becomes the substance of The Disappearers. This book unfolds the varied and intimate realities of gay men, their backstories, and afterlives. In their differences in class, ethnicity, social privilege, sexual preference, desire for attachment, emotional intelligence, eloquence, and identity constructions, the novel writes away the enforced flatness of slurs and stereotypes to humanise at scale. It is an everyday act of narrative restitution that has revolutionary significance given the continuing sexual politics of Jamaica.

Nevertheless, and equally significant, there is no comfortable place for the reader in this novel. It does not flinch in expressing the externally tormented, internally combusted lives of its protagonists. The restitution it offers is defiantly not the work of explanation or redemption. And it sets itself at maximum distance from the respectability prized by Jamaican middle-class heterosexuality — possibly epitomised by Jordan forcing his homophobic father, incapacitated by a stroke, to witness him having sex.

In terms of its aesthetics, James’s writerly watermarks are all on show. There are intensely held scenes, polyphony, intertextuality and a soundtrack – he is writing on the edge of extravaganza. But let’s be clear. This is not only a virtuoso literary performance – it is an enraged and personal act of restitution.

When Jordan Brown, a protagonist, praises the efforts of a journalist to record the brutal mob attack, he articulates the necessity of this novel – “Jamaica don’t get to beat us, kill us, then vanish us. And we don’t get to stop paying attention. This is important.” As James has been keen to acknowledge, this news story is one he could have featured in had he not fled to the church that closeted him, and then to the US, which gave him the distance from which to write with the excruciating proximity that defines his art here.

The Disappearers is a resolute, defiant and harrowing refusal to look away. It is more arrestingly a literary gesture of solidarity and kinship. In Jordan Brown’s words, “a touch that says ‘There you are, I know you, I see you.’” This is both an essential recognition and one that primes the imagination for justice and transformation to come.

This article features references to books that have been included for editorial reasons, and may contain links to bookshop.org. If you click on one of the links and go on to buy something, The Conversation UK may earn a commission.

The safety precautions were prompted by the discovery of what are believed to be old munitions in a garage in Holgate.

Police are ordering people out of their homes around Windmill Rise and they are warning they may have to close part of Acomb Road, which runs parallel to Windmill Rise.

Army experts have been called out to check the munitions.

A police spokesman said: “Your safety is our priority, so thank you for your support and understanding while we do this.

“Please avoid the area for the time being and speak to our officers at the scene if you have any concerns.”

We will keep you updated.

Tottenham look set for another nightmare season, having failed to win in any of their opening five Premier League games of the season, and Roberto De Zerbi is far from happy

Roberto De Zerbi has sensationally claimed that Tottenham are the ‘most fragile’ team he has ever coached. The Italian has endured a difficult second season in North London, having kept the side up in the Premier League last term.

But Saturday’s 3-2 defeat against Aston Villa has left Spurs without a win in their opening five league games of the campaign and leaves them in the relegation zone.

In assessing his side’s latest reverse, boss De Zerbi made the extraordinarily claim that Spurs were the most mentally fragile side that he has coached throughout his entire career.

“It’s a mental aspect for sure, but they have the right mentality,” the Italian told talkSPORT. “They work very well, they are good players.

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“It’s difficult to explain because, in my career, 14 years as a coach, I’ve never seen one team like us. So fragile, so inconsistent.

“You’re good, or you’re bad. You can’t be very good in the first 30, 40 minutes, and then concede like this in this way. It’s tough to accept for me.”

Asked where his side went wrong against Aston Villa, he added: “Listen, I’m a coach, but I do not have all the answers…for your question, I have no answer.

“I can say what I think, what I’ve seen today and I saw my team in the first half play very well, we had chances to score. We didn’t score and then we conceded the first goal…we have to stay closer and stay stronger, more compact.

“In the second half, after Kudus’ goal, I don’t know if the players lost energy…now we have to explain another defeat.”

De Zerbi then also suggested that the blame could lay at the players’ doors, with Spurs lacking leaders. He said: “Maybe the communication between the players [is the problem], maybe the leaders have to be stronger.

“We need leaders to drive and lead the team…I don’t know, I want to speak with the players when I stay with them. With Newcastle it was the same, in Liverpool it was the same, with Everton it was the same…we have to find the solutions.”

Spurs now head into the first international break of the season in the drop zone after their horrendous start. Their first game after the enforced break sees them come up against Manchester United at Old Trafford.

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While you are not able to watch BBC channels or watch live TV on any streaming service, you can still keep up to date with lots of popular shows using streaming services like Netflix and Disney+.

If you do not own a TV or do not need a TV licence, there are steps you need to take to confirm this information.

You might still be visited by TV Licensing if you say you do not need a TV licence. (Image: Getty)

Do I need to declare I do not need a TV licence?

If you do not need a TV licence, you must declare this information.

There is a form on the TV Licensing website that you will need to fill out to officially declare you do not need a TV licence.

After filling out the form, you will be sent confirmation of your No Licence Needed declaration.

Sometimes TV Licensing will visit your house to confirm you do not need a TV licence.

You might also continue to receive letters from TV Licensing.

The TV Licensing website says: “If you have recently completed a No Licence Needed declaration and have received a letter from us asking you to buy a TV Licence, please ignore it, as you do not require a TV Licence.”

A No Licence Needed declaration usually lasts for two years meaning you will need to reconfirm you still do not need a TV licence after this time.

TV Licensing says: “Your no licence needed confirmation will let you know how long it will last.

“After this time, we’ll contact you to check if the situation remains the same.

“If you made a No Licence Needed declaration at your old address and have moved home, you’ll need to let us know if you still don’t need a TV Licence.”

If you do not have a TV licence and watch any live TV, you can be fined up to £1,000.

Who can get a TV licence for free or a discounted price?

If you are 75 or older and get Pension Credit or live with your partner who gets Pension Credit, you can get a TV licence for free.

Some people can also get a TV licence for £7.50.

You are eligible for a discounted TV licence if you live in eligible residential care home, supported housing or sheltered accommodation and are retired and over 60 or disabled.

You can get a 50% discount on your TV licence if you are registered blind or live with someone who is.

Do you think it is worth having a TV licence? Let us know in the comments.

American actor and screenwriter Gerrit Graham has died at the age of 77, with his family confirming the sad news in a statement online

American actor and screenwriter Gerrit Graham has died aged 77. Graham died on September 15 in Rhinebeck, New York, while battling lung disease alongside other health complications.

A statement shared on Facebook described Graham as a “beloved father, grandfather, devoted friend, and legendary character actor”. The announcement confirmed that Graham died “peacefully” with both his sons present at his bedside. He earned recognition for his work within the Star Trek franchise, portraying the alien hunter of Tosk in Star Trek: Deep Space Nine (1993) and appearing as a member of the Q Continuum in Star Trek: Voyager (1996).

He also gained fame playing Beef in the 1974 rock musical Phantom of the Paradise, a performance that has maintained its cult status for decades. Graham launched his career working alongside Robert De Niro in Brian De Palma’s productions Greetings (1968) and Hi, Mom! (1970), before securing roles in numerous films including Demon Seed (1977), Pretty Baby (1978), Child’s Play 2 (1990) and National Lampoon’s Class Reunion (1995).

Celebrated for his skill with impressions and accents, Graham also featured in episodes of Laverne & Shirley (1978), The Wonder Years (1991), and Seinfeld (1992).

In addition to his acting work, Graham was also a talented screenwriter. His portfolio included work on The Little Mermaid, Oliver & Company and episodes of The Twilight Zone.

He also co-wrote Disney’s adaptation of The Prince and the Pauper alongside his brother, Sam, and Chris Hubbell. Beyond this, he was an accomplished songwriter and lyricist, working alongside Bob Weir of The Grateful Dead. The duo co-wrote Victim or the Crime, which featured on the band’s Built to Last album and was later performed by Weir and Rob Wasserman for their 1998 Live album.

Graham continued working until health issues forced him into retirement. “He will be remembered not only for the brilliance, wit, and depth he brought to his craft, but for the love and devotion he shared with his family and friends,” the Facebook statement continued.

Tributes have poured in for the star across social media, with Shaun of the Dead director Edgar Wright praising his portrayal of Beef in Phantom of the Paradise as “off-the-charts amazing”.

“He’s a constant joy, from his unforgettable line readings to those insane dance moves. It’s a joyously outrageous performance in a film that raises the roof with its sheer energy. If you haven’t yet discovered this solid-gold cult classic, I urge you to pay tribute at the altar of Beef as soon as you can,” he posted on X.

“Here’s to you, Gerrit, scene-stealer par excellence. We’re all sending salutations from the other side. Long live Beef!” Another fan shared on Facebook: “I was lucky enough to meet him, show him my Beef outfit and even show him video of me performing as Beef for Life at Last when we did a Floorshow of it. He was sweet as could be and even gave me a Gerrit Graham approval. Very sad he’s gone. You were definitely somebody Super.”

A third wrote: “12 years ago I got to meet Mr. Graham. He was so unbelievably humble and kind. To say he was a great and distinguished man is an understatement. Condolences.”

Fellow collaborator Bruce Kimmel also paid tribute, saying: “So sorry to hear this. I adored him. I directed him in The Creature Wasn’t Nice, with Cindy Williams, Leslie Nielsen, and Patrick Macnee. So creative and absolutely hilarious. We kept in touch. RIP dear Gerrit. You’ll be missed.”

Graham tied the knot with Deborah Cooper in 1982, and the couple went on to have two children together. He is survived by his brother Sam, his sons Jack and Henry, and his four grandchildren.

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On September 20, vintage buses will run between Bolton, Atherton, and Leigh along the 582 route, marking 120 years of Lancashire United Transport (LUT) and its transition to Greater Manchester Transport (GMT) 50 years ago.

Transport enthusiasts and the public alike are invited to take a step back in time and enjoy a nostalgic journey on these classic vehicles.

Buses in Bolton as The Museum of Transport Greater Manchester has launches a new exhibition. Pictures courtesty of Museum of Transport Greater Manchester

The free service, organised by TransporaBus, will operate every 20 minutes between 11am and 4pm, offering passengers a unique opportunity to relive the past.

LUT was once the largest independent bus operator in the UK, with services reaching Manchester, Bolton, Wigan, St Helens, Warrington, and Blackpool.

Although now a memory, this event allows people to experience the heritage buses on what is now the 582 route between Bolton and Leigh.

The 582 route has a rich history, having run for over 120 years.

New exhibition to open at The Museum of Transport Greater Manchester .Picture of buses in Boton Image: The Museum of Transport Greater Manchester

It has evolved from trams and trolleybuses to today’s Bee Network electric buses, reflecting the broader changes in public transport across the region.

The story of the Bolton to Leigh service began with trams.

The South Lancashire Tramways Company opened a route from Lowton through Leigh and Atherton to Four Lane Ends on October 20, 1902.

Through tram services to Bolton began in June 1909.

Due to financial difficulties, Lancashire United Tramways Ltd was established at the end of 1905, taking control of the South Lancashire operation in January 1906.

The company’s headquarters were moved to offices adjoining its Atherton depot later that year.

New exhibition to open at The Museum of Transport Greater Manchester .Picture of buses in Boton Image: The Museum of Transport Greater Manchester

Motor buses gradually became a more important part of its operations.

LUT’s first bus service attempt was in 1906, with regular bus operations beginning in 1920.

The buses carried the “Lancashire United” name, while trams continued to operate under the South Lancashire name.

Trams between Leigh and Four Lane Ends disappeared in December 1933 and were replaced by trolleybuses.

The trolleybus network also eventually gave way to conventional buses.

The Bolton to Four Lane Ends trolleybus service ended in March 1956, and the remaining South Lancashire trolleybus system closed in August 1958.

LUT became one of the best-known bus operators in the region.

New exhibition to open at The Museum of Transport Greater Manchester .Picture of buses in Boton Image: The Museum of Transport Greater Manchester

Its network stretched across the industrial towns of south Lancashire, with Bolton, Leigh, and Atherton at the heart of its operating territory.

The company was eventually bought by Greater Manchester Passenger Transport Executive on January 1, 1976.

It continued operating as a subsidiary under its own name until March 31, 1981, when its assets passed to Greater Manchester Transport.

The historic Bolton-Leigh bus link is associated with service 82, the predecessor of today’s 582.

The present Bolton-Atherton-Leigh 582 is considered the modern version of the historic route.

The 582 number itself dates from September 3, 2000, when the recorded route ran from Leigh through Atherton, Over Hulton, and Daubhill to Bolton.

Since September 24, 2023, the route has operated as part of the Bee Network, continuing a public transport connection whose origins stretch back to the tramways of the early 20th century.

As part of Sunday’s celebration, passengers will have the chance to travel on a piece of living history, with heritage buses taking to the roads.

New exhibition to open at The Museum of Transport Greater Manchester .Picture of buses in Boton Image: The Museum of Transport Greater Manchester

The event will not only be a celebration of the past but an opportunity for the public to see how public transport has evolved over the decades.

The heritage bus service offers a rare chance to experience transport history first-hand, providing an enjoyable day out for families, history enthusiasts, and transport fans alike.

The event is a fitting tribute to the enduring legacy of Lancashire United Transport, celebrating its contribution to public transport in the region over the past 120 years.

For more information, visit the TransporaBus Facebook page.

By DOLLY BUSBY

Published: 16:21 BST, 19 September 2026 | Updated: 18:30 BST, 19 September 2026

Damon Albarn is the latest musician to turn his back on Ed Sheeran as he draped a Palestinian flag on his shoulder and declared: ‘Don’t ever be neutral.’

Widespread outrage towards the Shape Of You singer, 35, began on Monday when it was announced that Macklemore would be dropped from Sheeran’s tour for his ‘Free Palestine‘ speech on stage weeks earlier.

All other supporting acts of the singer’s worldwide Loop tour dropped out in solidarity throughout the week, yet Sheeran will go ahead with the tour and perform in Philadelphia on Saturday night.

Pro-Palestinian demonstrations were planned outside the Lincoln Financial Field stadium where tickets were being sold for as little as £56 amid the ongoing controversy.

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Joining in on the backlash was the Blur frontman, 58, who on Thursday night, while performing on stage in Florida with his band, Gorillaz, used it as a moment to speak out against Sheeran.

Taking a Palestinian flag from an audience member and dressed in a bizarre military-like uniform, he told the crowd: ‘Don’t forget this. Ever. Stand your position. Don’t ever be neutral.’

Damon Albarn is the latest musician to turn his back on Ed Sheeran as he draped a Palestinian flag on his shoulder and declared: ‘Don’t ever be neutral’

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A source close to Albarn confirmed the pro-Palestine message, delivered at the sell-out show at the Kia Centre in Orlando, was related to the Sheeran scandal.

They added: ‘Damon has made no secrets of his support for the Palestinian cause over many years. He just doesn’t believe it’s possible to stay neutral over the issue, and is surprised by the way Ed Sheeran has explained himself over the Macklemore stance. He thinks it’s only made things worse.’

Meanwhile, The Mail on Sunday has learned that the row began only weeks after the English singer had signed one of the biggest record deals in music history.

After leaving the Warner Music label that first propelled him to fame after a 15-year contract, Sheeran concluded a new multimillion-pound deal with Interscope Records in July.

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Interscope won a highly competitive bidding war against Sony Music. The move reunited Sheeran with Interscope CEO John Janick, who previously worked with him during Janick’s tenure at Warner’s Elektra Records.

On Monday, Macklemore shared a post on Instagram claiming Sheeran and his management had ‘made the decision to remove’ him from the Loop Tour.

Sheeran and Albarn pictured together at the Brit Awards in 2015

The following day, Sheeran blamed the promoter for the removal of the rapper, who is a longstanding friend of his but is known to be politically outspoken, from the tour, which began in January.

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He wrote in a social media statement: ‘Upcoming tour dates had communicated that they would pull the shows if he was still supporting.’

The Perfect singer added that Gillette Stadium owner Robert Kraft, whose venue was scheduled to host a show, was among those objecting.

‘I am not complicit,’ Sheeran wrote. I have my personal views on this devastating conflict. Just because I choose not to speak publicly, it doesn’t mean I don’t have them, and it doesn’t mean I don’t care.’

Among the musical acts who have withdrawn from Sheeran’s tour are Irish artist Aaron Rowe, Grammy-winning musician Finneas, who is Billie Eilish’s brother, alongside Danish singer Lukas Graham.

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