
Kenneth Washington dead aged 89: Star Trek actor and final surviving main cast member of Hogan's Heroes dies
Washington was the last surviving main cast member of the popular CBS series.
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Kenneth Washington has died at the age of 89
Credit: Derek Olivia/ Facebook
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Kenneth Washington in Hogan's Heroes
Credit: IMDB
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Kenneth Washington on Star Trek
Washington died on July 18, as reported by
The TV and film actor was best known for playing Sergeant Richard in the final season of Hogan's Heroes.
Airing from 1965 until 1971, it ran for 168 episodes across six seasons.
Born in Ethel, Mississippi, the actor's family moved to California when he was a child, where he was then raised in San Francisco.
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He later moved to Los Angeles to pursue an acting career.
A household name in the '60s, Washington made appearances on several movies and TV series, including Star Trek, I Dream of Jeannie and My Three Sons.
Washington retired from screen roles in the late '80s.
Following his acting career, he returned to school and earned his college degree from Loyola Marymount University.
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He then married the former editor-in-chief at Wave Newspapers in LA in 2001.
The actor is survived by his wife, three children, three grandchildren and four great-grandchildren.
It comes after Tom Troupe, known for his roles in Star Trek and Mission: Impossible died aged 97.
He tragically passed away at his home in Beverly Hills from natural causes - just five days after his birthday, a family spokesperson said.
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The tragic star, who was married to the late actress Carole Cook, was also well-known for appearing in My Own Private Idaho and Cagney & Lacey.
He and his wife were formerly known as "the Lunts of L.A. Theatre" due to their extensive stage work in the City of Angels.
Earlier this month, Nip/Tuck and Fantastic Four actor Julian McMahon died at the age of 56 following a "private battle" with cancer.
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Irish Times
20 hours ago
- Irish Times
Maureen Dowd: CBS and other media outlets caving to Trump is sickening. At least South Park will still hold people accountable
We haven't heard this much talk about the presidential anatomy since the other guy in the Jeffrey Epstein files was in the Oval. President Donald Trump , a master at minimising others, is now being literally minimised on South Park by the crass and fearless creators of the cartoon. I could have told Trump that it's best not to provoke brilliant satirists. I learned that lesson the hard way 20 years ago. When I wrote Bushworld: Enter at Your Own Risk, about the tangled father and son saga that led to the invasion of Iraq , I wanted Pat Oliphant, a lacerating political cartoonist, to do the book's cover. READ MORE I wheedled until that acerbic Aussie finally agreed. When the drawing came back, it was dazzling: a tiny, jangly-eyed George W Bush under a big cowboy hat, his hands braced at the guns on his holster. He was walking down the driveway of an overgrown haunted version of the White House with a gargoyle hanging from the trees. Oliphant had given the president the body of a bug. Even though the book was harshly critical of W Bush and his scheming advisers, I was worried that the sketch might be a bit too disrespectful to the president. The cartoonist was a firm believer in 'stirring up the beast', as he called it, taking a torch to the lies and hypocrisy of the powerful. So, naturally, he was contemptuous when I suggested that we make W Bush less buglike. But, faced with more wheedling, he reluctantly agreed to take another crack at it. I waited nervously. When the new illustration came in, W Bush no longer looked like a bug. Oliphant had made the president look more like a monkey. And he was even smaller. It was a valuable lesson. Don't mess with satirists. They'll always have the last say, and it will be blistering. Even though jesters had more leeway in ancient courts to speak truth to monarchs, rulers could order up an axe or a noose if the truth cut too close to the bone. [ 'I will not be intimidated': But has Rupert Murdoch met his nemesis in Donald Trump? Opens in new window ] As the Fool says to Lear: 'I marvel what kin thou and thy daughters are: They'll have me whipped for speaking true, thou'lt have me whipped for lying; and sometimes I am whipped for holding my peace.' Drew Lichtenberg, the dramaturge at Washington's Shakespeare Theater Company, told me: 'Queen Elizabeth I passed a series of 'Vagabond Acts' making it illegal to be a travelling player, unless you had an aristocratic patron. Freelance actors were regarded as homeless people unless they wore the livery of a lord. It was the 16th-century version of yanking Stephen Colbert off the air , censoring the broadcast of views that the ruler didn't want performed without their say-so.' Recently, Colbert scorched Paramount , CBS' parent company, for caving to Trump with a $16 million (€13.6 million) settlement over his 60 Minutes lawsuit, hoping to get the US Federal Communications Commission (FCC) to favour its merger with Skydance. 'I believe this kind of complicated financial settlement with a sitting government official has a technical name in legal circles,' the comedian said. 'It's big, fat bribe.' A few days later, news broke that CBS, which has cratered from the Tiffany network to the Trump-fealty network, had cancelled the top-rated broadcast show for financial reasons. But who can believe that's the whole story? If it were just about money, there were a lot of better ways to handle Colbert, a big talent and valuable brand. CBS could have cut costs, or it could have transitioned him over the next five years into some combination of streaming or podcasting within the Paramount family. The Late Show with Stephen Colbert, a staple of late-night US television, will end in 2026, the CBS network said, days after the comedian blasted parent company Paramount's $16 million settlement with Donald Trump as 'a big fat bribe'. Photograph:Announcing that he was being dumped right after he criticised CBS reeked of censorship. Certainly, King Trump celebrated, crowing on Truth Social: 'I absolutely love that Colbert' got fired.' He even added: 'I hear Jimmy Kimmel is next.' The FCC chair, Brendan Carr, said that The View – airing on ABC, which also caved to Trump, paying a whopping $15 million for George Stephanopoulos' misspeaking – might be in the administration's crosshairs. 'Once President Trump has exposed these media gatekeepers and smashed this facade, there's a lot of consequences,' Carr said, ominously. CBS is, as Colbert said, 'morally bankrupt'. It's sickening to see media outlets, universities, law firms and tech companies bending the knee. (Hang tough, Rupert!) Satirists are left to hold people accountable, and they are more than ready. Colbert's fellow humorists jumped in to back him up, most brazenly the South Park creators, Trey Parker and Matt Stone, fresh off a Paramount deal worth more than $1.25 billion. (South Park, popular with conservatives, does not defend liberals; it loves jeering at both sides and woke overreach.) Its 27th season premiere – 'Sermon on the 'Mount,' as in Paramount – featured Trump with a 'teeny-tiny' you-know-what. It depicted the president cuddling with Satan and romancing a sheep. It ripped the Paramount deal, the CBS settlement, the Colbert firing, Trump's 'power to sue and take bribes' and the president's manic attempt to divert attention from ties to Epstein, as the paedophile's accomplice, Ghislaine Maxwell , no doubt angles for a pardon by spilling some information. It also showed a deepfake of Trump, rotund and naked, walking in the desert, Christ-like, 'for America'. As Puck's Matthew Belloni said: 'The AI deepfake Trump was particularly brilliant, given that the same day the episode aired, the president announced White House AI policy positions favouring lacklustre protections against exactly this kind of dangerous technology.' The White House sniffed that 'no fourth-rate show can derail President Trump's hot streak'. At Comic-Con on Thursday, the South Park creators were deadpan about their rebellious reaction to Trump's attempt to stifle critics and wreak revenge. 'We're terribly sorry,' Parker said, making it clear they were anything but. The tiger picnics last. – the New York Times


Irish Independent
2 days ago
- Irish Independent
All Together Now festival in Waterford – your complete guide to routes, safety and top tips
'We're excited to welcome 30,000 festival-goers to for the sold out sixth chapter of All Together Now (ATN), taking place across the bank holiday weekend from Thursday, July 31 to Monday, August 4,' said a spokesperson. 'We can't wait to throw open the gates and get the party started once again for another incredible weekend of music, art, conversation, and connection. Here are some tips and hints, and everything you need to know to have the best experience at ATN25 - we can't wait for you to join us.' Whether you're going for just one day, or for the whole weekend, here is everything you need to know about safely getting there and back. Stage times and site map - get the ATN App The ATN App, powered by Bank of Ireland, keeps festival-goers in the loop across 21 stages. The app is available at the App Store, Google Play or via This gives you all live stage times and set changes, special guest alerts, and interactive site map, and live traffic and travel updates. Sold out – warning There will be no day tickets for All Together Now 2025. Once again, organisers strongly urge all festival-goers to be cautious and avoid scams of counterfeit or unofficial tickets being sold online. Festival goers are strongly advised to avoid purchasing tickets or campervan passes from unauthorised sellers. Organisers have received a significant number of messages from people who have been scammed when trying to buy tickets through unofficial channels, particularly through a Facebook group claiming to resell tickets for our events. All tickets and campervan passes are completely sold out. Ticket info Mobile tickets are downloaded directly to your phone. No need to print or search through your emails - find them in your Ticketmaster account and on the app, or save them to your mobile wallet. What to pack Photo ID and tickets. Reusable water bottle. Tent, sleeping bag, toiletries, loo roll. Card for cashless payments as the festival does not accept cash as payment for anything. Layers, rain gear, sun cream and wellies – prepare for all weather. ADVERTISEMENT Learn more Organisers would suggest that if you don't need an item, don't bring it, especially any valuables. Professional photographic equipment is not permitted at the festival. Early entry – Thursday, July 31 Early entry is open to all ticket holders - no separate early access ticket required. Organisers encourage as many as possible to beat the rush by arriving on Thursday evening. Campervan, boutique and pre-pitched camping will all be ready and waiting for early arrivals. There will be live entertainment to get the celebrations started, with music on the bandstand and other surprises around the site. Festival opening times Thursday, July 31 - Car park opens at 2pm. Campsites open at 4pm. Last entry at 10pm Friday, 1 August – Sunday, 3 August. Car park and campsites: open from 9am daily. Last entry: 10pm Monday, 4 August. Site closes: 12pm noon. Please take everything with you. Leave not trace. Age policy All Together Now is strictly over 21s, except for children aged 12 and under, who may attend free with a family weekend camping ticket and a parent-guardian. Download your ticket to your phone before leaving the house - on-site signal may be limited. Alcohol policy – BYOB Each person with a general weekend camping ticket is permitted to bring one of the following: 24 cans or one litre of spirits or 1.5 litres of wine. These are allowed only on your initial entry. Alcohol may be brought into both the campsite and the main arena. No re-entry with alcohol once wrist-banded. No single-use plastic bottles. Please decant and use reusables. No glass: glass bottles are strictly prohibited. We suggest you decant to reusable plastic or stainless steel containers. Campervans and caravans Campervan - caravan field opens at 4pm on Thursday, July 31. Camping in tents is not permitted in this field. No gazebos allowed – to ensure everyone has adequate space. No generators, and no electrical hook-ups allowed. Awnings must be built-in, not free-standing. Sleeping in cars in the car park is strictly prohibited. Getting to the festival The car park will open at 2pm on Thursday, July 31 and the campsite will open at 4pm on Thursday, July 31, for all ticket holders. Travelling by road between 9am - 1pm is one of the quietest times to travel to the festival. For the latest traffic news, check: local radio (WLR 95.1FM and BEAT 102.0FM), the Festival App, or Twitter (X) @ATNFestival for the latest travel news as well as live updates. Driving Organisers have advised that festival goers should not follow Google Maps or Sat Nav, as it will not get you all the way to the festival site. Please use the directions at the bottom of this page, and follow the festival signage as soon as you see those. Do not travel to the festival via Carrick-on-Suir. Drop off - shuttle buses Friday drop off: designated drop off zone at Highfield Business Park, Portlaw, accessed from the N25 Kilmeaden Interchange. Free Shuttle Buses will bring ticket holders to the festival (operating Friday, 9am-9pm) and returning (Monday, 8am - 1pm only). Best option: use Waterford City Bus Terminus for Bus Éireann festival shuttle service, operating a regular service to the festival site. Taxis and drop offs The designated taxi pick-up and drop-off zone is located at the bus drop-off area right beside the main entrance to the festival. Ask your taxi driver to enter via Gate 4 for the smoothest access. Please do not arrange to be dropped off or picked up elsewhere near the estate as this can cause delays and disrupt traffic flow. Drop-off on the event site is prohibited on Friday and Monday. Ticketholders arriving to the festival on Friday by taxi or getting dropped off by private vehicles will be directed to the designated drop-off zone in Highfield Business Park, Portlaw - accessed from the N25 Kilmeaden Interchange. Ticketholders will then get the free shuttle bus to the festival (operating Friday 9am-9.30pm) and returning Monday (8am – 1pm only). To avoid festival traffic organisers advise the best drop off at the Waterford City bus Terminus where Bus Eireann festival shuttle will operate a regular service to the festival site. Bus and train Bus Éireann: Direct return services from Dublin, Cork and Waterford. Irish Rail: Routes from major cities to Waterford Plunkett Station, with onward travel options, see Cycling Bike racks are located next to Car Park 4 – follow staff directions once you enter the site. Driving by road From Dublin and north and east Drivers from Dublin and north and east via M9 and N25 west: travel the M9 to its end at Grannagh. Proceed towards the N25, west towards Cork, via the N25 Interchange. At the N25 Kilmeaden Interchange (Carrick Road Roundabout) motorists will be directed right at the roundabout towards the R680 through the town of Portlaw. In Portlaw, you will be directed out the Clonegam Road and enter via Gate 6 for access to the car park. From Waterford city Drivers from Waterford city via N25 west: travel the M9 to its end at Grannagh. Proceed towards the N25, west towards Cork, via the N25 Interchange. At the N25 Kilmeaden Interchange (Carrick Road Roundabout) motorists will be directed right at the roundabout towards the R680 through the town of Portlaw. In Portlaw, you will be directed out the Clonegam Road and enter via Gate 6 for access to the car park. From Cork and Southwest Drivers from Cork and Southwest via N25 east: motorists coming from the southwest will directed left off the N25 at Lemybrien. Motorists will use the R676 road, traveling north, then joining the event traffic at Crehana Junction of R676 - R677, then entering to event via Gate 5. From West and Midlands Drivers from the west and midlands via M7/M8/N24: Travel East along the N24. You will then turn Right at Kilsheelan to the R680. At the end of the R680, south of Carrick-on-Suir, turn Right at the T-Junction with the R676. You will then continue along this regional road and be directed left to the R677 towards Gate 5 (General). Campervans and caravans Please follow all 'event traffic' signs and VMS signage directing you to 'campervans buses.' Traffic coming from the southwest and east will travel north along the R677 to Gate 3. Traffic coming from the west will bypass Gate 5, for general campers, and travel south along the R677 to Gate 3. Once inside please follow the directions of staff who will direct you to your parking location. Private buses All private buses will be directed to Gate 4 regardless of their route origin. Buses will exit the same route as they entered the site. Note - no private hire coaches are permitted to stay on site. Disabled access parking and camping In order to avail of access camping, festival-goers must be in communication with access@ and receive confirmation from the access team. Patrons requiring accessible parking and camping will be directed to Gate 3 regardless of their route origin. Traffic coming from the southwest and east will travel north along the R677 to Gate 3. Traffic coming from the west will bypass Gate 5 and travel south along the R677 to Gate 3.


RTÉ News
2 days ago
- RTÉ News
Irish-produced drama Mix Tape and the musical love letter
BBC drama Mix Tape, a tale of star-crossed lovers who bond over music, is coming to RTÉ soon but can it reinvigorate the lost art of the mix tape as musical love letter? It was a teenage rite of passage and also what the kids now call a major flex. Making a mixtape was a labour of love, a musical way into the heart of the one you fancied and also a proud artefact of just how very good your taste in music really was. Carefully pressing the right buttons on your twin tape deck, choosing the tracks of your hopes and dreams and lovingly inscribing the song titles and artists on the inlay card became something of a minor artform back in what some people probably correctly call simpler times. Van Morrison called it the inarticulate speech of the heart and for millions of seventies, eighties and nineties kids, the mixtape was the musical equivalent of the love letter - the spark for countless nervous conversations and maybe even debates. God knows, I still have a box of them in my spare room. And no, they weren't all retuned, un-played and unloved. These days, of course, you will see wizened old Boomers and Gen Xers posting tiresome memes on wizened old Facebook (it's where the adults hang out, OK?) of cassette tapes accompanied by a pencil. If you know, you know. This, apparently, is the modern age's equivalent of uncovering ancient runes and explaining arcane rituals to digital nativists. In our era of instant gratification, even the noughties phenomenon of the CD burn has given way to soulless Spotify playlists and causal YouTube shares on mobile phones. As ever, something has been lost but with a new generation turning to vinyl and even the cassette format making its own comeback, can the actual physical mixtape become a tribune of love once again? Perhaps recent BBC drama Mix Tape (ta-dah!), which is due to air on RTÉ soon, will inspire a fresh flood of spooling polyester plastic film coated with magnetic material as musical missives. Perhaps not. In any case, the fabled mixtape is the jumping off point for the four-part series. It is the overwrought story of two music mad Sheffield kids, with the very Irish names of Daniel O'Toole and Alison Connor, who meet as teens at a house party in 1989. The young Daniel (who looks like a cross between Grian Chatten of Fontaines D.C. and a young Neil Morrissey) is a music obsessive and he wins bookish Alison's heart with his impressive knowledge of Cabaret Voltaire. Then again, we later learn that his favourite Bowie song is Modern Love. Their first dance is to Joy Division's immortal Love Will Tear Us Apart, their first kiss is to The Jesus & Mary Chain, and when their bedroom fumbling goes much further, they DO IT to the strains of In-Between Days by The Cure. Oh, the drama! Oh, the great basslines! There isn't enough of The Fall featured in Mix Tape for my liking but music is the spine of young Dan and Ali's romance and it plays out the beats and missed heart beats of puppy love (thankfully, no songs by Donny Osmond were used in the making of this programme). Daniel slips his mixtapes into Alison's school bag and she hands him lovingly curated TDKs on the bus to school. We hear The Jesus & Mary Chain, The Velvet Underground and The Stone Roses. All very good, indeed. But just as their teen crush turns to full-blown romance, Alison vanishes from Sheffield, leaving Daniel feeling like a Morrissey song. It's an intriguing premise and the drama plays out in a dual timelines and dual time zones, making it a lot like Sliding Doors meets Sleepless in Seattle - a Proustian rush of 'what ifs' and 'if onlys' played out longingly in verboten mobile phone texts and mutual cyber stalking and the songs of their lost youth. Normal People it is not. However, it is fraught stuff. We follow Daniel and Alison, who is now a successful novelist living in Syndey and married to a total eejit, and move between their teenage romance in 1989 Sheffield and the modern-day reality of their adult relationships living on opposite sides of the world. Daniel and his wife aren't exactly singing from the same hymn sheet back in Sheffield. He now works as a music journalist but never seems to do any actual work (so, that makes sense) and he is toying with writing a book about some great lost music figurehead, like Daniel Johnson or Nick Drake. Mix Tape is a very Irish affair. The four-part drama was originated and developed by Dublin-based production company Subotica, who have previously produced North Sea Connection and The Boy That Never Was, with help from Ireland's generous Section 481 Film and Television tax incentive and the support of Fís Éireann/Screen Ireland and Screen Australia among others. It was also filmed entirely on location in Dublin and Sydney. And so, the former steel town of Sheffield is played by Dublin's Liberties (I was tickled to see that some of it was shot on the very street where I live), while location filming was also completed in Australia. However, things get seriously meta when the young Alison actually moves to actual Dublin and young Daniel nearly has a whitey on the actual Ha'penny Bridge when he sees her with another bloke. Strangely, no U2 was used in the making of this programme. Based on the novel by Jane Sanderson and adapted for television by Irish writer Jo Spain, the show stars Teresa Palmer as the adult Alison and Jim Sturgess as the adult Daniel and Rory Walton-Smith as young Daniel and Florence Hunt as young Alison. And here's the thing, the actors who play the younger versions of our protagonists are so much better than the anguished grown-up versions, who spend most of the time moping about like extras in a Cure video. Of course, the whole thing reminded me of that minor noughties indie hit about an estranged couple haggling over their shared record collection in the same way rich people haggle over their condo in Bel Air or their D4 pied-à-terre. If you're looking for a good music-based romance, Stephen Frears' film of Nick Hornby's High Fidelity is still your best. Mix Tape is a mite too tortured and joyless but it does have two major flexes - those Dublin locations and the actual music. It also asks an eternal question posed by music obsessives in every time line and time zone - can the songs that sound-tracked our young lives and loves ever really sound the same again?