With the proliferation of Flock and Axon AI-powered cameras in towns throughout the United States, the prevalence of public surveillance might just be the top topic of 2026 and beyond. Groups like DeFlock, which offers an open-source map of Flock cameras, are bringing awareness to just how ubiquitous these cameras are becoming and how dangerous they are. Because, no matter what the police department might say, it's neither normal nor safe for them to use Flock cameras to track one driver over 500 times or for 17 Georgia cops to illegally use Flock cameras to stalk people.
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With automatic license plate readers (ALPRs) shining a spotlight on privacy concerns and law enforcement's ability to ignore those concerns seemingly at will, it's only natural to wonder about the state of body cam usage and footage throughout the country. Some police departments are considering integrating agentic AI into body cams, which would turn them into a tool for "predicting" and "determining" threats — heavy air quotes here because artificial intelligence isn't particularly good at reasoning on its own and comes to flawed conclusions.
Who can legally view police body cam footage, and how does the public go about getting their hands on said footage? Do body cams lead to accountability? The answer to the first question is that, technically, almost anyone can request body cam footage from the police. In many cases, footage is even legally required to be made public. To view the footage, an interested individual usually needs to submit a public information request, similar to a FOIA request, but specific to the locality and the department involved.
Whether you ever receive the requested information is another matter, though. And even if you do get approval to view the video, you might not be able to afford it.
Body cam policy is a state and city matter
Spencer Platt/Getty Images
At the end of the day, exactly who can and cannot request access to body cam footage from the police department is up to the state in question. Additionally, only a handful of states require police to wear body cams, so there may not be any footage there to request, depending on where you live. Currently, body cams are required in Colorado, Connecticut, Delaware, Illinois, Maryland, New Jersey, New Mexico, and South Carolina, though they're still widely used outside these states on a piecemeal basis.
Most states have laws on the books regarding who can access police body cam footage, how to do so, and what leeway the police department in question has in redacting information or refusing to release footage. According to The Reporters Committee for Freedom of the Press, Iowa, Massachusetts, Mississippi, Montana, New Jersey, New York, Rhode Island, and Virginia have proposed laws regarding public access to police body cam footage that have not yet come into effect. Alabama and Hawaii have no such laws, while Alaska, Maine, New Mexico, South Dakota, West Virginia, and Vermont have passed tangential laws that leave the question of public access inconclusive.
All other states have laws defining the limits and requirements for public access to body cam footage. To check the details for your state, visit the map here, and click on your state, which will load the relevant legislation. Many states allow police to withhold body cam footage to keep victims or others recorded anonymous or otherwise edit footage to redact sensitive information and bodily harm.
Despite public access to police body cam footage being widely allowed, one 2023 ProPublica survey found that footage is missing or withheld in the majority of deaths at the hands of police. %!s()
Mike Mills had a pretty typical childhood for a creative, misfit-type kid growing up in Southern California in the 1970s and ’80s: skateboarding, punk rock, art school. By the mid-1990s, he was a graphic artist with a penchant for groovy hipster minimalism, designing posters and album covers for the Beastie Boys, Sonic Youth, and Cibo Matto. By the late 1990s, Mills was making music videos and showcasing his short films at Sundance. His 2005 debut feature, an adaptation of Walter Kirn’s coming-of-age novel Thumbsucker, suggested the first step towards a sort of Indie Cinema 101 career: a little quirky, a little edgy, a little brainy and sensitive, a little shoegazy and dreamlike in its approach in favoring vibe over storytelling.
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Then Mills decided he wanted to make a movie about his dad. His father was a closeted gay man who came out very late in life, then passed away at the age of 80. He mined his own experiences and interactions in the story of a thirtysomething graphic designer wrapping his head around familial dysfunction, life disruptions, grief, love, and mortality. He approached the story in a way that was certainly personal, but wasn’t straight-up autobiographical. It was affectionate, authentic, unflinching, tender but not overly sentimental or twee. It won Christopher Plummer an Oscar at the age of 82. It was called Beginners, and suddenly, you felt that everything Mills had been doing up to that point — all the underground culture and art school influences, the love of clean lines and 21st century retro deco cool — had given way to something far more open and unique without altogether abandoning the work that had made his name. Welcome to the cinema of Mike Mills.
Three movies later, the 60-year-old former skaterat and Cooper Union graduate has established himself as both a humanistic filmmaker of the first order and a genuine original. He’d be the first to tell you that he had not set out to chronicle his family life, starting with his dad (Beginners), moving to his mom’s story (20th Century Women, 2016), and eventually tackling his own feelings around becoming a father (C’mon C’mon, 2021). Nor did he envision these films as being connected in any sort of way, other than the fact that somehow reflect and refract his own life while giving actors like Plummer, Ewan McGregor, Annette Bening, Billy Crudup, and Joaquin Phoenix some of the best roles of their careers.
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But as Mills sits in a conference room in the Criterion offices in downtown Manhattan, a stone’s throw away from the famous closet, he’ll admit that they “make a very nice triptych. I wrote them in in a similar style, and now it feels like I unconsciously made them feel like they’re of a piece.” I’ll Remind You of Everything: The Films of Mike Mills collects that trio of films, along with a handful of Mills’ early shorts like Deformer (1996) and his music videos for Air (“All I Need) and Talking Heads (“Psycho Killer,” featuring a beautifully unhinged Saoirse Ronan), in a way that lets you chart Mills’ evolution and connect the dots. Mills may feel more than a little humble about getting the Criterion Collection box set treatment. The set also demonstrates exactly why he deserves it. (It’s available to purchase, online and on shelves, now.)
At what point did Criterion approach you about putting together a set around those three films? It was around the time 20th Century Women came around; they were talking about potentially doing a Criterion release for that. But then the conversation turned into, “Oh, Beginners and 20th Century Women, they kind of go together.” And then later, after I made C’mon C’mon, they reached out again.
I had no intention for those three films to be seen as connected. Each one of those films was a gigantic mountain I had to climb, and had no idea if I’d be able to make the next one. So there’s no way you can plan that. But just because of the nature of my writing, I think they ended up being a very nice triptych. Kim [Hendrickson, the set’s producer] was the one who had the idea of, “How can we expand it?” She knew enough about my work to know how important the music videos and the short films are to me. I kind of adhere to an Agnes Varda model: the duration of the film doesn’t equal its importance. The shorts are how I became a filmmaker, and often I don’t know, just some of my favorite things as well.
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It’s interesting to see this stuff together as the as a whole, instead of just the sum of its parts. You look at Deformer next to C’mon C’mon, and you can see they came from the same person… I hadn’t watched Deformer in a long time. That was the second thing I ever made — I didn’t know jack about what I was doing. [Laughs] But when I rewatched, I was like, “Oh, it’s all those same moves I like to do now. A lot of portraiture, a lot of objects as an important context and framing for a person, a lot of how a sense of place defines a person. It’s basically all my films in miniature.
You love a good inventory. [Laughs] I like a good list. I trust a good list more than I trust a dramaturgical arc. Dramaturgical arcs are manipulation. A list is just sort of a list.
You’d played in punk bands, went to art school, designed album covers — you had a number of creative outlets. But you’ve also said that the idea of making movies was like going to the moon. Right. I knew people who made skate videos. But it was like, ok — how do you actually do it?
At what point did you start thinking “Not only do I want to make movies, but I can make movies. I could actually do this?” When I was going to school at Cooper Union, everyone was very interested in how to get out of the rarefied art world, how to get into the public sphere, how to not just be encased and encoded in sort of art-theory stuff. But I went there to art school to be an artist. Filmmaking was just not a world I knew about. I did see movies by Fellini, Antonioni, and all these things that continue to influence me today. But those films was also just very far away, even if they were artistically more interesting to me than something like Jaws or Star Wars.
Then one afternoon, I saw The Thin Blue Line [the Errol Morris true-crime documentary] on the Upper West Side. I was 27 years old, and I remember walking out of that and saying, I could do that. Because it’s so essayistic and so like a list. Also I was living in the Lower East Side, going to Kim’s Video — I’d go to the Godard shelf and just work my way through it from left to right. Jim Jarmusch was a big influence as well; I used to joke with a friend of mine that we were living in an unmade Jarmusch movie, because we unemployed and living in the same neighborhood you’d see in his films.
And I did have sort of a weird gateway drug in the form of Spike Jonze, who I knew through skateboarding and the Alleged Gallery. I met Lance Accord — who’s now a director but he was just a cinematographer at the time — in this very random kind of New York way, and we ended up doing an EPK for Frank Black right after he’d left the Pixies. He loves driving, so we rented a big Cadillac and just filmed him. So I got in sideways that way, and through my music-world connections from doing record covers.
I went back to the Rolling Stone interview that you did when 20th Century Women was released, and you were trying to describe the film. You said, “Okay, have you ever heard the 1940 recording of ‘As Time Goes By’ that Rudy Vallee did? Now put on the Buzzcocks song, ‘Can I Touch It?’ Those two records that are playing in your mind right now? That’s the movie.” [Laughs] That’s funny. It’s a pretty good description of my childhood household overall as well.
Music has clearly been a foundational thing for you, and there are two of your music videos (for Air’s “All I Need” and Talking Heads’ “Psycho Killer”) on the set. But how much does music play into the nuts and bolts of your filmmaking — when you’re writing, when you’re on set, when you’re editing or figuring out how it’s going to inform the feeling you’re chasing in a story? I mean, before I was a filmmaker, I was an untalented punk rock musician. Music was my first creative joy. I still play piano every single day. I’m not very good at it, but I love it more than anything.
When I write, I tend to listen to music on loop in noise-canceling headphones. I’ll listen to maybe one song for, I don’t know — a day, a week, an afternoon. I’ll hear this one change in Cate le Bon song, and it’s like, that’s the feeling. That’s the what I want. It was The National for a while. That’s how I ended up doing that project with them (2019’s “I Am Easy to Find”).
Music is really about just sort of shaping time. And it taught me a lot about filmmaking because I came to it from a very static, non-time-based mind, you know. So for me, drafting on the feeling you have listening to music, or what happens to me with playing music, has been one way I’ve taught myself how to play with time onscreen, you know? When I feel like my films are doing well — when I’m sort of happy with how, say, a five-minute scene is going — it’s usually because it’s functioning like music, even if there’s no music playing over it. There’s some kind of energetic flow to it that’s not dialogue-driven or because of an edit. Something else is happening.
Can you think of specific examples for specific films? I remember when I was writing C’mon, I was constantly listening to Frank Ocean a lot. I was just such a Frank Ocean Blond-head, I was just listening to that constantly. There are Frank Ocean songs that you hear and go, “Where am I? Is this the chorus, the verse or the bridge?” There can be four separate parts to a Frank Ocean song that don’t recur, you know? I would study those types pf things to make my weird American dad kid movie. In terms of the DNA of my movies, yeah — they’re completely linked to music.
I know C’mon C’mon is about an uncle and a nephew, but you’ve talked a lot about it being reflective of your experience being a dad. Has your kid seen it? What do they think of it? They just saw it a year ago, when we went to Berlin and saw a screening of it. They haven’t seen any of my movies. That was the first of their of my work that they’d seen.
Really? They’d seen trailers, or they see me editing. I try to downplay the whole moviemaking thing in our in the house, you know. Like it’s not that big of a deal.
The desire to write that movie was my experiences being a dad to my kid, and a lot of the scenes are sort of based on our life. But my kid was nine when I made it, and I started writing when they were six — so I’m kind of writing about earlier experiences. They don’t have any memories of the scenes that I’m basing stuff off of. So they were like, “Oh, that’s funny. I bet that’s from us, isn’t it?” It’s like very meta to them, and they know enough. “Okay, so you made a movie about your dad, but it’s not really your dad. I mean, it’s based on things you saw with your dad, but it’s also Christopher Plummer. It’s a very muddy, mongrel situation.” Like they’ll literally quote that back to me! [Laughs] So this person has grown up with a lot of knowledge of how, when you make a movie that’s based on your life, it’s not actually your life.
It is very easy to see like there are bits of autobiography hidden in plain sight in your movies. But they’re not memoirs. I remember the first time I read Allen Ginsberg’s Howl, I could tell that this was a tether to a lived experience that’s kind of mysterious and unexplainable. I’m not queer man in 1955, but I got a real sense of his life and who he was even when he wasn’t being direct. I know he’s a controversial figure, but look at those Woody Allen films from the late 1970s — Annie Hall, Manhattan, Stardust Memories. You just can smell he’s writing about his personal relationships. I like Neil Young more than I like Bob Dylan because I sense I’m getting some like report from his life in a more direct, more vulnerable manner. All of those types of things had a huge influence on me in terms of how you put yourself into your work without making it a memoir.
There’s just enough distance between the two. Exactly. It’s a little like in therapy, when you’ve distanced yourself from this mood or behavior just enough to kind of like see it, appreciate it, maybe have compassion for it, maybe have critique for it, whatever it is. But I feel like that’s a really lucky thing to get to do. Or at least the bit that I’ve learned how to do it, I feel very incredibly grateful for.
My personal questions and mysteries are the motivations that keeps me going through all the minor and major humiliations it takes to make a movie. But there are things I’ll observe or hear from someone else that, if they feel like they resonate, get worked in as well. That whole thing about the kid wanting to be an orphan and talk to the parent like he’s an orphan in C’mon C’mon? That is a story from [The National guitarist] Aaron Dessner’s child; Aaron told me that one night, and I was like, “That’s fucking amazing! Can I use that?” He asked his kid, he said yes, and that’s how it made it in. There’s a fair amount of things I get from other people.
Has your writing process changed over the years? It’s getting more instinctual. I’m like finally getting the hang of it a little bit — even though this script I’m writing right now is taking me fucking forever, so that has not changed. There’s still a lot of trial and error in my process.
Do you wish you were more prolific? I used to feel a need to be more prolific until I was about 45, but not so much anymore. It really changed when I had a kid, where it’s like, I want to live my life. I want to be dad more than anything. I mean, with filmmaking… I got started late. I’m not gonna contend for the top shelf, you know? I’m just gonna try to do a few good ones, and have a career like that’s more like the Hal Ashby model than anything else.
Having a career like Hal Ashby is a pretty good goal to shoot for! Right? I’m not gonna be Coppola, or Spielberg, or Scorsese. But Ashby? That a bar I could possibly hit. His films are amazing. I’d love to have made Harold and Maude!
There’s a supplementary feature on the box set where you and filmmaker Kristen Johnson (Cameraperson) are discussing your career, and you have this wonderful phrase about your works being a way to get around “the failed project of knowing”… The failed project of truly knowing your loved ones, yeah. Or at least holding the failure. Maybe that’s what it is. You’re never going to get to know them as much as you want. You’re going to misunderstand them, and there’s always going to be some void that that you just don’t see. People often say, “Oh, your film’s therapeutic.” I’m like, “No, not actually.” Really, if anything, I’m exploiting my therapy. [Laughs]
But there is a therapeutic thing happening that I didn’t totally understand at first, but I see now. It’s like I am kind of communing with my dead parents. I’m trying to come up with what the fuck they would say in this thing, or it’s like, “I know my mom wouldn’t exactly say that, but I’m kind of taking her energy and multiplying it.” So that communing with a person who isn’t there feels nice. My parents were gone relatively early in my life, and they’re the kind of folks that just didn’t tell you shit about themselves. So I have a lot of questions and a lot of hunger. There are mysteries with your loved ones. But movies are dreams and magic tricks, and I realize I’ve been able to hold on to the mysteries because of those movies. That part has been like nutritive emotionally in a way that I didn’t cop to before.
Do you feel like you know your parents better, or that you know your child better having made these movies? Or at least be able to see things through their eyes in a way that you wouldn’t have before? Yeah. I have had to think about these people a lot, and then explain them to other people, and then have them transformed by these other people. That’s another whole magic trick that I don’t even understand. Like, you do your best job to try to capture some aspects of your father. You’re only going to get, say, 20 percent. Then you hand it over to Christopher Plummer, who does his version. and you’re like, “Well, I kind of learned a couple things about my dad in the way that Christopher was different but also the same.”
Ewan McGregor and Mike Mills in ‘Beginners.’
Andrew Tepper/The Criterion Collection
And then you have actors playing characters that represent you… I still find it really weird when someone is playing a version of me, but…. You could say Ewan McGregor is playing a version of me in Beginners, or that Joaquin [Phoenix] is playing a version of me in C’mon C’mon, for example, but they’re also bringing their own instincts to things and playing around with the character. There are things that Annette [Bening] says about being a parent in 20th Century Women that represent how I feel about parenthood. But she’s coming up with her own character. I really encourage the actors to become authors, even when they’re representing something or someone that reflects my own experiences.
Is there a reason that [Mills’ debut film] Thumbsucker and [Mills’ 2007 documentary] Does Your Soul Have a Cold? aren’t in the set? Thumbsucker is weird for me. I wrote it, but I adapted it from Walter Kirn’s book. To be honest, I feel like I learned a shit-ton making that movie, but it didn’t come out as good as I would have hoped. It’s my first movie. I love all those actors. I wish somehow I could just like have my relationship with those actors be on the box set, and not the movie. If we could somehow do that, that’d be great. [Laughs] But it was mostly just that these three films here naturally make a very nice triptych. I wrote them in in a similar style, and now it feels like I unconsciously made them feel like they’re of a piece.
What goes through your head when you look at this stuff now? I don’t.
But you had to for this set, I’d imagine? I had to go back and recolor them with the sound off, which is the only way I could do it. I heard Fellini say this in an interview once. When he had to go back and watch his films, he’d be like, “Oh, that’s the movie? I thought that scene was in it, and I thought that scene was out, and…” Like you remember them incorrectly. It’s funny, I can talk about someone else’s film forever —
— But talking about this thing where it’s like, “Here’s all your work, Mike” is a lot tougher. Here are all the decisions you made. Here’s you, right? Don’t get me wrong, I feel so lucky to be able to have done this, and the body of work is so important to me. The shorts are in there because they’re really important to me. It is a body of work. And I think…[Pause]
I came from a family where people kind of abandoned themselves. Dad was a gay man who didn’t come out for a long time. My mom was at least as complicated as my dad, in terms of gender, mental illness, depression. They were both born in the 1920s. And they joined America.
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“Joined?” They co-bearded each other and they joined America, right? They entered into what was considered the American ideal. So it’s like a massive project of self-abandonment. And compared to them, I’m not that rogue. I’m not that brave. But I did this body of work that’s all about like them and us and whatever the opposite of self-abandonment is. I feel really grateful that these movies happened and I could do that for them and for me.
Do you feel like your relationship with filmmaking has changed? Yeah. It’s so fucking hard. It’s so complex. There’s so many things I have to go write at one time. But I do feel like I’m about to make a good one. Any day now, man. It’s coming. It’s about to happen. [Laughs] %!s()
Lando Norris quipped McLaren were in "new man's land" ahead of starting from the head of a Grand Prix grid for the first time this year, as Lewis Hamilton maintained hope that he could fight back from his qualifying penalty in the Hungarian Grand Prix.
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World champion Norris will start from pole position on a Sunday for the first time since last November in Las Vegas after usurping Hamilton from the top of the timesheet with his final lap of Q3.
Hamilton had been due to be the Ferrari driver starting alongside him on the front row but was handed a three-place penalty for impeding Oscar Piastri.
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Third-fastest Charles Leclerc was therefore promoted to second place in the other Ferrari, with McLaren's Piastri and Red Bull's Max Verstappen moving onto the second row following Kimi Antonelli's own three-place penalty for speeding under yellow flags.
Hungarian GP grid: Revised top 10
1) Lando Norris, McLaren
2) Charles Leclerc, Ferrari
3) Oscar Piastri, McLaren
4) Max Verstappen, Red Bull
5) Lewis Hamilton, Ferrari
6) George Russell, Mercedes
7) Kimi Antonelli, Mercedes
8) Isack Hadjar, Red Bull
9) Arvid Lindblad, Racing Bulls
10) Nico Hulkenberg, Audi
McLaren have finished first and second in each of the last two years in Hungary but had appeared outsiders to contend for a hat-trick of wins this time.
However, their biggest upgrade to the MCL40 for several races has coincided with strong form around the challenging Hungaroring layout, with Norris particularly thriving.
Assessing the key requirements for Sunday's 70-lap race as he goes for the first win of his title defence, Norris told Sky Sports F1: "You still need good pace, good tyre management, a good start of course otherwise you learn on the go!
"You have to prepare well and we have very tough competition. The Mercedes and Ferrari's race pace looked very good and they have been strong all year.
"We are in new man's land. It's our first time at the front, so we'll see what we can learn as we go and how we can adapt. I expect a very tough race, but it's not impossible."
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Highlights from qualifying for the 2026 Hungarian Grand Prix.
Reigning two-time constructors' champions McLaren's last race win came courtesy of Norris in Brazil eight months ago, with the Woking team scoring just four podium finishes across the first 10 races of F1's new rules era so far.
Norris, who was among the quickest drivers on track last week at Spa-Francorchamps but took a 10-place grid penalty due to exceeding power-unit elements, is however staying cautious.
"Let's just wait and see. I mean, it's just qualifying. It's a long race ahead, and it's going to be a difficult one, so we'll see," he stressed.
"Certainly, if we just go back to Spa last weekend, like I said then, I thought I had good enough pace to certainly not be on pole, but certainly fight for a podium and potentially a win, just in terms of pace. I obviously didn't, but the potential was there.
"It's nice to see that's kind of carried over to this weekend.
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Lando Norris looks ahead to a 'tough' race as he sits on pole for the Hungarian Grand Prix.
"We brought some good upgrades, like I said, and that potential has turned into a result, which is always a very nice thing to see for the whole team and very good for the motivation and the atmosphere within the team. It's rewarding to see work going in and rewards being taken out.
"So, very pleased for all of them. But you can't just rely on one good qualifying, so I need a good race [on Sunday]."
What can Hamilton and Antonelli do after penalties?
For the third weekend running, Hamilton has been handed a penalty by the stewards and the prospect of fighting for the win now appears to be a major challenge.
The Hungaroring is difficult to overtake at due to the lack of straights but high tyre degradation is expected which will enable different strategies to be used, so Hamilton should still have a good chance of at least getting onto the podium if Ferrari's short run pace translates into strong long run speed.
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Why Lewis Hamilton lost second place on the grid after impeding Oscar Piastri during qualifying at the Hungarian Grand Prix.
In a lengthy post on Instagram on Saturday evening after his latest penalty was confirmed, Hamilton wrote: "Sometimes you just can't catch a break. Another weekend when I've been feeling great throughout all the sessions, but then it just falls apart. To go from being so close to pole to then starting P5 is extremely frustrating.
"I always do my best to keep positive - sport is always about the highs and lows, but it's also in the margins.
"Every point counts and you have to seize every opportunity. After three penalties in three weekends, it's becoming difficult to hang on to that positivity. Still, I won't let the setbacks take away from the progress we've been making as a team. With the pace we have, I'm hopeful we can get something out of the race tomorrow.
"The car has been feeling better and better, and we've been competitive all weekend.
"Tonight, we'll keep working hard together to give ourselves the best possible chance [on Sunday]. I always enjoy this track, so keep the faith and send good vibes for the race."
As for Antonelli, he now has the surprise of starting one place behind team-mate George Russell with the Mercedes pair in sixth and seventh.
Antonelli leads Hamilton by 45 points and Russell, who starts sixth, by 50 points in the Drivers' Championship but all three face the jeopardy of being in the pack on the long run down to Turn One.
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Andrea Kimi Antonelli reflects on his qualifying session where he ended P4 for the Hungarian Grand Prix.
The Mercedes team-mates have not had an on-track battle since Canada when they nearly collided multiple times, so there will be plenty of attention on how hard they fight each other after the lights go out in the last race before the summer break.
"The race is not going to be easy. Overtaking is going to be difficult, and we are now starting much further back that we could have been," said Antonelli.
"Our long run pace on Friday was good too so we will be doing everything we can to fight for the win."
Sky Sports F1's Hungarian GP schedule
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Look back at some of the most dramatic moments throughout the years at the Hungarian Grand Prix
Sunday July 26 7.35am: F3 Feature Race 9.05am: Porsche Supercup 10.20am: F2 Feature Race 12.30pm: Hungarian GP build-up: Grand Prix Sunday* 2pm: THE HUNGARIAN GRAND PRIX* 4pm: Hungarian GP reaction: Chequered Flag* 5pm: Ted's Notebook*
England thrashed Northern Ireland 83-34 on the opening day of the Netball pool stage at the Commonwealth Games but Scotland were beaten by New Zealand.
England ran out comfortable winners at The Hydro, with all 12 players taking to the court in a confidence-building performance.
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Head coach Anna Stembridge saw her side take a 24-7 lead at the first quarter break, which soon became 41-18 at half- time.
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Jayda Pechova and captain Fran Williams both impressed, while Lois Pearson, Sasha Glasgow and Liv Tchine linked up nicely.
Half-time substitute Eleanor Cardwell top-scored with 35 goals from 37 shots, with the squad now focusing on the ultimate test against defending champions Australia on Sunday.
"Getting that first win and performance under our belts was important," said Stembridge. "We'll make sure we close the loop in our debrief and then turn our full focus to Australia tomorrow."
"Australia are world No 1 for a reason, and we have a huge amount of respect for them," she continued.
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"We feel well prepared and will be ready to respond to whatever tactics they bring. It's exciting to think about the matchups and the challenges we can pose as well.
"Ultimately, you want to play against the best and coach against the best.
"Those are the opportunities that test you and help you improve."
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Vice-captain Tchine added: "It was great to see everyone putting into practice what we've been working on in training. Everyone came out and gave everything.
"I think we needed that. We played together well and got those first-game nerves out of the way. Everyone knows what it's like in that opening match, so now we're ready to focus on Australia tomorrow."
Meanwhile, Scotland suffered a 74-44 defeat to New Zealand in their Glasgow 2026 Commonwealth Games opener, though the remaining group matches against lower-ranked opposition offer a chance to bounce back.
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Team England netball squad
Defence Halimat Adio (28, London, London Pulse) Francesca Williams (28, Reading, West Coast Fever) Funmi Fadoju (23, Redbridge, London Pulse) Jayda Pechova (21, Fleet, Nottingham Forest)
Midcourt Imo Allison (28, Huddersfield, Queensland Firebirds) Jess Shaw (30, Stockport, Loughborough Lightning) Amy Carter (27, Nottingham, AO Manchester Thunder) Nat Metcalf (33, Keighley, AO Manchester Thunder)
Attack Sasha Glasgow (27, Moonta, Australia, West Coast Fever) Liv Tchine (25, London, London Pulse) Eleanor Cardwell (31, Blackpool, AO Manchester Thunder) Lois Pearson (26, Bury, AO Manchester Thunder)
The Vitality Roses; England Netball's senior team, are currently third in the World Netball world rankings. %!s()
Camilo Duran impressed again as Celtic rounded off pre-season with an entertaining 2-2 draw against AC Milan.
Duran scored and assisted to put Celtic in a commanding position, but a quick-fire double from teenager Francesco Camarda early in the second half proved enough to deny Celtic victory.
Celtic fixtures: Dundee opener, first Old Firm on September 20 - both live on Sky
Colombian frontman Duran scored his third goal in three games to give Celtic an early lead after a shocking back pass from Strahinja Pavlovic allowed him to slot home a left-footed shot into the corner.
Celtic's second also came from an AC Milan defensive error. Luke McCowan's pressure forced the mistake, allowing Duran to beat AC Milan goalkeeper Lorenzo Torriani to the ball and cut back for James Forrest to lash home emphatically.
Image:
James Forrest (right) celebrates with Camilo Duran after making it 2-0
The home side were comfortable heading into half-time, but - after a raft of AC Milan substitutions - the away side pulled a goal back, just a minute after the restart.
Camarda stepped up and made no mistake from the spot after Cameron Carter-Vickers was adjudged to have brought him down in the penalty area.
Image:
Francesco Camarda (middle) celebrates scoring to make it 2-2 at Celtic Park
And six minutes later, Camarda got AC Milan back on level terms after heading in a precision cross from the right-hand side from fellow substitute Samuel Chukwueze.
Also See:
PL pre-season friendlies: Your club's results and fixtures
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Celtic substitute Thomas Hatton put in a lively cameo performance, curling a shot wide before forcing a late save from the AC Milan goalkeeper.
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Take a look at some of Daizen Maeda's best goals for Celtic in the Scottish Premiership
But Celtic, who saw cult hero Daizen Maeda complete his move to Premier League Ipswich earlier in the day, were forced to settle for a draw.
O'Neil: Duran can be big asset for us
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Martin O'Neill says Celtic have a few other things in the pipeline, on top of targets Kasper Hogh and Mika Baur.
Celtic manager Martin O'Neil:
"In terms of pre-season, I really enjoyed it. I thought we did some really good things in the game. We just lost our concentration after half-time.
"I think Camilo Duran is a really good player. If he steers clear of injury he'll be a big asset to us.
"It would be nice to see some more of the young players, they've been with us in pre-season. Tam Hatton did well to take players on, which is a dying art. It's really encouraging and there is a battle on to get into the side."
Celtic begin title defence against Dundee
Celtic begin their Scottish Premiership title defence at home to Dundee on August 3, live on Sky Sports.
The Monday night clash, which will kick-off at 7.30pm, rounds off a groundbreaking opening weekend that will see all six top-flight games shown live on Sky Sports for the first time.
Click here for all of Celtic's Premiership fixtures, including dates of the first Old Firm clash this season.%!s()
