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Blues made a good start, creating a couple of chances to open the scoring.

The first came in the fourth minute when Jhon Solis dispossessed Malanda and was given the ball back by Tomoki Iwata. The Colombian turned and dragged his shot narrowly wide.

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Fourteen minutes later the hosts went from one end of the field to the other, freeing Carlos Vicente down the right. The winger back-heeled to Bright Osayi-Samuel, who picked out Luis Vazquez. After last weekend's horror miss at Derby, the Argentine did at least put his header on target but too close to Radek Vitek who tipped over.

Boro grew into the game with Amario Cozier-Duberry causing Birmingham huge problems down the right.

The Brighton loanee should have scored nine minutes before the break when Myles Peart-Harris picked him out with a pull-back but he scooped his shot over the bar.

The 21-year-old's influence grew and it was no surprise when Malanda hit him with a sweeping, 45th-minute diagonal and he weaved his way into the area to set up Max Arfsten. The American fired first-time into the top corner.

Chris Davies' side responded well after the restart and levelled 10 minutes in when Malanda lost possession to Iwata who then invited Solis to surge into the area. Just as the midfielder looked to be running out of angle, Liam Millar popped up to fire home his first Blues goal.

Four minutes later the home side were in front when Millar's deep corner was headed back into the six-yard box by Jay Stansfield. The ball pinballed around and eventually went in off Riley McGree.

With 20 minutes to go Iwata went close when he popped up at the near post to glance a Millar cross just over the bar.

The visitors pressed and made attacking substitutions with Tommy Conway, Kyle Joseph and Jeremy Sarmiento and they did push Birmingham on to the defensive.

The pressure eventually paid off with two minutes to go when Sebastian Berhalter curled over an inswinging free-kick which seemed to run harmlessly through to Beadle.

However, the goalkeeper fumbled four yards out and, while Joseph was unable to bundle home, Malanda did to send the travelling supporters home happy.

The managers

Birmingham's Chris Davies:

"The players are telling me that they thought that he had the two hands on the ball.

"I haven't seen the slowed down image of it, that would be the one to see but it's scandalous if he's had two hands on the ball and it's been missed, that can't happen.

"But it was a sickening way just from that deep set-piece, just whipped in one bounce. James has saved us many times and he's a fantastic goalkeeper, he's had a really good season.

"Like I said to him, these things happen. He knows, he's disappointed with that, but he's had a really good season."

Middlesbrough's Kim Hellberg:

"I think everyone knows we need to concede a little bit fewer goals, my mum at home watching the game can say that we need to concede fewer goals, but how are we doing that?

"The game today, for example, in that spell I don't think we're conceding chances, but we give away a massive amount of set plays from diving into tackles.

"We give away throw-ins instead of if we can clear it 50 yards higher up and then it's not into the box.

"That frustrates me a lot. So there's also managing those spells, absolutely, we have to work and do that better.

"We need to understand game management, how we suffer through those periods of time in a better way. I think it's how do you do that? That's the thing you work with and how do you summarise that to conceding fewer goals?

"So, in general there's things to work on, it would be odd otherwise, and there's things that are very, very good and a lot of praise for the players."

What the result means and next fixtures...

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Maitreyi Ramakrishnan grew up a Nintendo kid, through and through. Growing up, the breakout star of Netflix's Never Have I Ever — and of the new movie, Best of the Best — wasn't allowed to play violent games like Call of Duty or GTA on Xbox and PlayStation. The Ramakrishnan home was one where the DS and GameCube reigned supreme. Her list of all-time faves is replete with mid-00s bangers straight outta Kyoto: Super Smash Bros. Ultimate, Paper Mario: The Thousand Year Door, Kirby Superstar Ultra, Legend of Zelda: Phantom Hourglass, Super Princess Peach, Pokémon Pearl, Luigi’s Mansion, and Super Paper Mario.

She's a die-hard Smash fan, and her mastery of the game was hard-won, after years of getting stuck with the crappy, third-party controller with the chewed-up joystick. "I was really, really bad as a kid. But I kept playing. And I slowly started understanding, like, wait, you don't have to spam things. It's not random. You can actually choose moves and combos. There's a method and strategy to this. Once I learned that, I started getting way better and then started beating my cousins all the time," she explained. "And that's why I have a Kirby tattoo. That was my first tattoo."

To all the Kirby haters out there, a word of warning: "I could kick your ass without using down-B once." She adds, "I actually love to use down-B as a fake-out, because I stop it midway and do something else, and then boom, you're done."

Given that her new Netflix movie centers on a Bollywood dance club at UCLA, I assume that Ramakrishnan must be an accomplished dancer. Not quite. But she is pretty good at rhythm games. "I don't know if the people who make Just Dance know, but they were a part of my education for Best of the Best."

Before we part, I ask Ramakrishnan if she had a favorite item in the shop she wanted to take a closer look at. Her tastes gravitate toward the old-school. She selects the original Super Smash Bros. for the Nintendo 64, turning over the gray cartridge in her hands with the respectful, cautious reverence usually afforded to a museum specimen. It's only later, as I'm walking home, that I realize she wasn't even alive when it came out in 1999.

Yes, of course you have time to watch another Shelf Quest!

It was the first time residents had been given an alert and urged to stay indoors since a recent escalation in the conflict with the Houthis.

There has been no official comment from Saudi authorities.

In a statement posted online, Houthi military spokesman Yahya al-Sarea said a "large number of ballistic and cruise missiles and drones" had been used to attack "sensitive sites" in Riyadh and Aramco state oil and gas company facilities in Yanbu on the coast.

He added that the attacks were "in response to the Saudi enemy's criminal attempts" to target the Yemeni capital Sanaa.

Earlier, Sarea had accused Saudi Arabia of carrying out 300 strikes across Yemen during the past week.

The Houthis are locked in a civil war with Yemen's internationally recognised government, which is backed by Saudi Arabia.

They have attacked targets inside Saudi Arabia on several occasions in recent months, and said this week that they were responsible for downing a Saudi fighter jet over Yemen.

According to an unconfirmed report from AFP news agency, quoting military sources on both sides of Yemen's civil war, fighting between the Houthis and Saudi-backed government forces claimed 48 lives on Saturday.

The Houthis said 31 of their fighters had been killed while government sources said their side had lost 17 soldiers, according to the news agency.

On Friday, the International Organization for Migration, a UN body, reported that the number of people displaced as a result of recent fighting had passed 104,796, external.

A number of apparent explosions were heard in Riyadh and major problems were reported at King Khalid International Airport earlier on Saturday, with the tracking website FlightRadar24 reporting delays and cancellations., external

An AFP journalist reported that firefighters could be seen trying to extinguish the flames of a burnt-out fuel tank belonging to Aramco.

The Saudi Civil Defence had sent out phone alerts overnight warning of potential danger in Riyadh and other regions, before issuing an all-clear on Saturday morning.

Residents told AFP on condition of anonymity that they had heard what sounded like a round of explosions echoing through the city after the alerts.

"I heard the alarm, then my windows shook," said a resident of northern Riyadh, 27. "It was definitely scary. I was not expecting this."

The Houthis recently seized control of the strategic port city of Mokha and Perim Island, a gateway to a key shipping route used by the Gulf state to export to Asia and Europe.

The group said the naval blockade was in retaliation for a Saudi blockade of ports and airports in Houthi-controlled north-western Yemen.

Saudi vessels have relied on that stretch of the Red Sea for oil exports since the US and Israel's war with Iran effectively closed the Strait of Hormuz.

On Friday, investment banking giant JP Morgan said it was struggling to predict how oil prices would be impacted by the war, telling investors in a rare note that "we simply don't know how to model the endgame". %!s()

Journalists were turned away from the grounds on Saturday after Trump announced on Friday that CNN, MS NOW and Politico would be barred from the White House, accusing the outlets of reporting what he called “fake news”. Trump has said other outlets could also face bans.

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CNN White House reporter Betsy Klein and MS NOW White House correspondent Akayla Gardner both reported on air that they had been denied access. Gardner said an officer confiscated her badge after telling her it had been disabled and that the decision was “above him”. An MS NOW photographer also had their badge disabled, she said.

Politico reporter Cheyenne Haslett was subsequently turned away, with Politico saying the Secret Service denied her entry and confiscated her White House access pass.

“A few minutes ago, our colleague Cheyenne Haslett attempted to enter the White House to do her job as a POLITICO reporter,” the news organisation said. “Secret Service denied her entry to the complex and confiscated the pass that allows her access to the White House.”

“We stand by her and all reporters here covering the White House,” Politico added. “As we said yesterday, we will vigorously defend our First Amendment rights.”

“The White House belongs to the American people and the decisions made inside are funded by our tax dollars,” MS NOW said in a statement. “MS NOW intends to take any and all steps necessary to defend our First Amendment rights and the essential role of independent journalism in our democracy.”’

CNN media analyst Brian Stelter called the move “a direct threat to press freedom in the United States”.

“It’s so much bigger than CNN,” Stelter said. “This is a free speech test in America.”

The White House Correspondents’ Association said Trump had described “his own planned action as a ‘ban on the free press’”, and said constitutional press protections do not depend on whether a president approves of a news organisation’s coverage.

The ban is the latest in a series of confrontations Trump has had with news organisations during his first and second term.

In 2025, his administration restricted Associated Press access to the Oval Office and presidential travel after the agency declined to adopt the administration’s preferred name, “Gulf of America”, for the Gulf of Mexico. That case remains ongoing.

A key precedent is a 1977 federal appeals court ruling, Sherrill v Knight. The court found that once the White House establishes press facilities for credentialed journalists, access cannot be denied arbitrarily or for less than compelling reasons. It also said journalists denied credentials must receive notice of the factual basis, an opportunity to respond, and a final written explanation.

It is not yet clear what legal recourse CNN, MS NOW or Politico may pursue, or how courts would apply Sherrill to the administration’s decision to revoke existing credentials.

Al Jazeera’s Alan Fisher reported from Washington, DC, on Friday that Trump’s ban will likely be challenged soon.

“The United States has the First Amendment [of its Constitution] that says the government cannot restrict access to this sort of thing,” he said.

Press freedom advocates are watching closely.

Jameel Jaffer, executive director of the Knight First Amendment Institute at Columbia University, said in a news release that the move raises constitutional concerns.

“If President Trump means to expel these news organizations from the White House press pool, his action is doubly unconstitutional because the press pool is a ‘public forum’ under the First Amendment, which means the president can’t exclude journalists from it on the basis of their viewpoints,” Jaffer said.

The fight over access could now become a broader test of the limits on the White House’s ability to control which journalists can cover the administration.

“It’s difficult to imagine a more blatant violation of the First Amendment than Trump banning news outlets from the People’s House for criticizing the government,” said Seth Stern, chief of advocacy at the Freedom of the Press Foundation. “It’s also hard to imagine a dumber move.” %!s()

SB 186 additionally offers new perks for productions that choose to monetize their tax credits instead of applying them to their annual tax bill: Productions can now monetize 95 percent of the credits instead of the previous 90 percent. Their payout timeline is also sped up to two years instead of the previous five.

It’s not a full exemption for Hollywood, but it’s a change that the industry pushed hard for. “Today’s action will maintain the state’s competitiveness so creators continue to make movies and shows in California — and keep bringing brilliant stories to life,” Motion Picture Association vp of state government affairs Arlen Valdivia said in a statement. “We thank Governor Newsom for his continued support for our industry’s health.”

In the view of California production advocates, the tax credit caps — which were signed into law as part of a state budget bill earlier this year — jeopardized California’s recently expanded film and television production tax credit program.

In 2025, Newsom signed into a law a $420 million annual expansion to the program in the face of film and TV projects fleeing to other states and countries with attractive tax credits. The beefed-up program in recent months has committed to supporting Paramount’s Clueless sequel series, DreamWorks’ Shrek prequel Donkey and Disney’s Hexed, among other titles.

Hollywood insiders claimed that state budget bill SB 122 could undo the goodwill created by that tax credit expansion. “Budget bill SB 122 puts our program at risk by retroactively changing the rules and threatening the recovery efforts of our already fragile industry throughout California,” said a letter sent by entertainment union members to legislators over the summer.

State legislators with ties to the industry scrambled to come to a solution and SB 186, carried by state Sen. Ben Allen, passed the legislature in late August.

Newsom signed SB 186 into law the same day that he also greenlit a standalone postproduction tax credit in the state. “California is the nation’s entertainment capital. It is the home of storytellers, dreamers, artists, entrepreneurs, and creators who define culture for the rest of the world,” Newsom said in a statement. “This legislation protects the extraordinary people who make this industry possible and makes it unmistakably clear: California is still the future of film and television. We have the talent. We have the infrastructure. We have the creative community. And we have an ecosystem that simply cannot be replicated anywhere else.” %!s()