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The Lead: Carla Simón's Unique Approach to Family DramaFamily reunions in European arthouse cinema are almost always unhappy events, on a scale of strife that ranges from simmering resentment to spectacular score-settling. Carla Simón, however, has a rare gift: she makes you leave the cinema with renewed faith that having relatives and keeping in touch with them may actually be a wonderful thing.No film-maker working in Europe now is as capable of turning birthday gatherings, garden parties or poolside barbecues into thrillingly sprawling canvases of human virtue and vice as this 39-year-old rising star. From a riotous water fight in the Berlinale Golden Bear-winning farming drama Alcarràs to a foul-mouthed dinner table singalong in her new film Romería, Simón directs kinship meetings with the attention to detail that other film-makers may invest in action sequences or dance routines.The Event Details: Romería and the Journey to Self-DiscoveryAmong the tricks Simón employs, she explains, is to ensure her actors only read the script once before the camera starts rolling, so they have to improvise to fill the gaps. She takes her casts to parties, for walks and on shopping trips, and if there are disagreements on the way, so much the better. The ultimate secret sauce, though, is to ignore WC Fields's notorious advice and always work with children and animals."I never get bored of working with kids," she says. "When you are only working with adult actors, shooting becomes more like executing an idea that you have in your mind, and I think that is not interesting. With children, you always have this feeling that that things are going to happen in front of the camera by chance. It keeps things alive."Her new film Romería, meaning "pilgrimage" in Spanish, dives deeper into the story of the biological parents she barely got to know. Eighteen-year-old Marina travels to her relatives in Vigo, in north-western Galicia, purportedly to find the death certificate of her biological father, which she needs to study film-making in Barcelona. The initial reaction is warm, but family is a room with dark corners and locked closets.The Personal Journey: Aids, Loss and Family SecretsSimón's fascination with freewheeling scenes of family life was undoubtedly honed through her own biography. Born in Barcelona in 1986, her father died when she was three and her mother when she was six. Both of them succumbed to Aids. She was 12 when her adoptive mother told her that her parents had been infected with the autoimmune disease through their use of drugs.All of her first three films have been strongly autobiographical: Summer 1993 tells the story of a six-year-old girl who moves to an unspecified location countryside to live with her aunt after the death of her mother, while 2022's Alcarràs is specifically set in the Catalan peach-growing community of her adoptive family.In the film, a cache of letters written by her late mother opens up a portal to the time when her parents met and discovered love – for each other, the Atlantic Ocean and drugs. The letters, Simón explains, are real. "She wrote to her friends and family while she lived in Vigo. Her Catalan is full of mistakes, because teaching Catalan was banned under the Franco regime. But they are the most important thing that I have from my mother, because suddenly I can hear her talking."The Impact Analysis: Spanish Cinema and the Legacy of AidsSpanish cinema has a track record in making films where child actors take centre stage: Ana Torrent's spell-binding turn as a young girl obsessed with the Frankenstein tale in Víctor Erice's 1973 film The Spirit of the Beehive is considered an all-time great performance by a minor, and Simón describes it as "a very, very important film for me".During the transition period after Franco's rule, Madrid gave birth to la movida, a countercultural movement that celebrated lifestyles that had been banned under military rule. "All these kids who were raised under Franco and religious oppression, suddenly freedom arrived and they embraced it", Simón says. "They didn't think much about the future or the consequences of what they were experimenting with. And then the drugs came in."When we talk about this generation in Spain, people sometimes use words like shame and blame, but I feel that's really unfair: people like my parents just had bad luck.The Future Direction: Beyond Family in Simón's Next ProjectHalfway through Romería there is a stylistic shift, from the Eurorealism she favoured in her previous works toward something more magical-realist: there is a mysterious cat you might expect to encounter in a Miyazaki film, and an unforgettable dance number set to Vigo punk rocker's Siniestro Total's song Bailaré Sobre Tu Tumba ("I'll Dance on Your Grave")."These three films I've made are kind of a cycle, because they all talk about my family, adoptive and biological. But since I became a mother a few years ago, I feel that my place in the family changed. When you have kids you feel it's a new period in your life, so I feel like maybe doing something that has nothing to do with my family."Her next film, she confides, is going to be a flamenco musical.

The Unlikely Hero of Normal Bob Odenkirk continues his new career as the everyguy action hero in this cynically bleak gonzo actionfest, co-written by Odenkirk himself with John Wick creator Derek Kolstad. The director is Ben Wheatley, who shows the same kind of gunplay that was exhibited in his single-location mayhem spectacular Free Fire from 2017. A Town of Deception The setting is a place of Fargo-esque wholesomeness: a little town in Minnesota called Normal where Ulysses, played by Odenkirk, shows up as the interim sheriff, a decent guy just filling in after the previous sheriff was found dead in the snow in strange circumstances. Ulysses is depressed and battling a drinking problem after an unexplained violent end to his last job, which caused him to separate from his wife. The Dark Secret Unfolds Yet something is very wrong: when a bank robbery happens in this one-horse town, events are set in train which reveal to Ulysses that everything about Normal, like the blandly prosperous law practice in Sydney Pollack’s film The Firm, rests on a single, awful secret that he is about to uncover. It’s entertaining and bizarre chaos, anchored by Odenkirk’s hangdog air of gloomy resignation to the violent mess which he has to clean up. The Film's Release Normal is in UK and Irish cinemas from 15 May.

The Artist's Journey Through Love and LossFalling in and then out of love is a universal experience that often brings sadness, grief and heartbreak, and with time, hope and healing. Photographer Diana Markosian used her camera lens to document these complex feelings in her new project, Replaced.She brings the viewer on her journey of having, losing and reclaiming love, in a project that blurs documentary and fiction. "[The moments] no longer existed in the way they had, and I wanted to reclaim them," she says. "I wanted to feel that I could exist in my own story again."Recreating Intimate Moments Through ArtTo document their relationship, Markosian and her team worked with an actor to play her ex-partner. Each intimate image from the series, taken over three months, is a replica of an exact moment once shared with her ex and now shared between her and the actor. Her connection to him deliberately led to his being cast as her partner in the series so that the experience would feel as real as possible.With the actor, she visited Miami, Paris, Naples, Capri and Nice, all places she had once traveled to with her ex-partner. "These locations carry an existing weight of romantic myth," she says. "They are already shaped by cultural narratives of love, desire and idealized experience."The Emotional Toll of ReenactmentShe stayed at the same hotels and did the activities they had once done together, describing the experience as painful but cathartic. "It hurts so much, watching myself be replaced, watching those memories erased, and I didn't want to live in this any more," she says. "I'm so grateful that the project happened quickly."One of the most tender moments she recreates with the model appears in an image of them seated in a bathtub, holding one another with a red light glowing around them. Their vulnerability allows the viewer to reflect on a delicate moment between two people whose past love no longer exists, fostering empathy and prompting the audience to reflect on their own past relationships.Art as a Tool for Processing EmotionsCreating these intimate photographs enabled her to contemplate her journey. "I wanted to acknowledge how these same spaces can be reoccupied," she says, before adding: "If anything, [the project] just showed me how much I loved this person."For the past 16 years, Markosian has not let go of her camera, often using it to reach back and understand her past. "Art has given me a way of processing. I was studying writing, and suddenly found myself holding a camera and not wanting to let go of it; it became just a friend in my life," she says.A Career Built on Memory and ReconnectionShe first picked up a camera at 20, during graduate school at Columbia University. After graduating with a master's degree in journalism, she wanted to see the world, so she moved back to Moscow, Russia, where she was born. There she taught herself how to use the camera.Today, her lens serves as a tool for reconnecting with her past life and reclaiming it as her own. In her previous, highly regarded photo monograph Inventing My Father, she demonstrates her unique ability to reveal the unseen past through her images. Working on the book for 10 years, she depicts her journey of finding her father after 15 years of no contact, following her move to California in 1996 from Armenia, where he lives."Father, my previous work of the past decade, it's all rooted in memory, and I think what's beautiful about memory, there's a blend of fiction, interpretation, and it's very subjective," she says. "So I think I love existing in that territory because none of it is really real."

The Lead Lauren Elkin's book 'Vocal Break' is a celebration of the female voice in all its forms and imperfections. Elkin, a London-dwelling French-American translator and author, examines the female voice through the lens of her own musical passions and explores the rules and expectations foisted on female vocalists. The Event Details Elkin's book is not strictly a memoir, but she mines her past as she examines singers and singing. She digs into notions of self-image, coolness, integrity, and authenticity, and ponders the history of the vocoder and the current vogue for Auto-Tune. The Data Analysis No specific data is provided in the article, but Elkin's research takes in Roland Barthes's 'The Grain of the Voice,' Greil Marcus's 'Lipstick Traces,' and Homer's 'Odyssey.' She also shares surprising facts, such as the French phrase for singing along to a song in a language you don't know: 'chanter en yaourt,' or 'to sing in yoghurt.' The Impact Analysis Elkin asserts that women using their voices is 'not a neutral proposition but a hard-won right' and that judgments on their singing are wrapped up in power and identity. She highlights the physical violence women have endured for daring to sing and be themselves on stage, citing examples such as Ari Up and Tori Amos. The Prediction Elkin notes that 'singing is about wanting that thing that is just beyond reach, and that is why we love it, and need it.' She encourages more people to sing, emphasizing that through music, we can get things that are just beyond our reach, or feel like we have, for the time the music lasts.

Manchester City Women have moved into a purpose‑built, £10 million complex at the City Football Academy, featuring everything from personalised chopsticks to an underwater treadmill, and the upgrade is already paying dividends with a WSL title and an FA Cup final appearance.State‑of‑the‑art facility gives Manchester City Women a performance edgeThe 17,000 sq ft headquarters includes a barista‑style coffee machine, three chefs crafting bespoke recovery shakes, and a canteen where Japanese players receive individually engraved chopsticks. Players can test hamstring strength in a dedicated gym, use non‑invasive shock‑wave therapy, and unwind on an underwater treadmill while watching Sky Sports News.£10 million investment and 17,000 sq ft of purpose‑built spaceCost: £10 millionSize: 17,000 sq ftOpening date: 10 March 2026 (after the international break)Key amenities: gender‑specific gym equipment, specialist recovery drinks, personalised lockers, three‑chef canteenRaising the bar for women’s football infrastructure across the leagueClub captain Alex Greenwood hailed the hub as the best she’s seen, even compared to England’s St George’s Park. The facility follows Brighton’s £8.5 million centre and signals a shift toward dedicated women’s venues, potentially prompting other WSL clubs to invest similarly.What the next season could hold for City and the wider WSLWith a deep, youthful squad already in place, City’s managing director Charlotte O’Neill expects strategic summer signings rather than a wholesale overhaul. The new hub may also enable City to field an academy side in the Women’s National League from 2027, further strengthening the club’s talent pipeline and influencing league‑wide development.

The Cultural Phenomenon of Northern SoulAlan Byron's film is an absorbing docu-celebration of the northern soul scene that flourished from the late 1960s to the end of the 1970s. It was a fascinating, vernacular youth movement and a kind of regional open secret: a club culture, a zine culture, a music-and-fashion culture which uncynically invented and sustained itself without the need for any svengali figure from London to keep the show on the road. Northern soul fans were passionate about thumpingly sensual mid-60s American soul, a musical style which they kept alive on the all-night dancefloor by doing spectacular spins and drops, while the official voice of the music business decreed that disco or MOR rock or glam or heavy metal was where it was at.The Wigan Casino LegacyDJs would travel to the US to sort through the boxes and mounds of 7-inch vinyl which had been discarded by Motown and the radio stations – basically prospecting for gold – and bring it back to northern English clubs. The principal clearing house was the mighty Wigan Casino which mounted legendary all-nighters from 2am to 8am, attracting soul fans from miles around who knew that this was the only place where certain tracks could be heard. (No Spotify or Apple Music in those days.)Cultural Resistance and RecognitionLicensing laws meant that only Coca-Cola could be served, but dancers took amphetamine, a part of the northern soul scene that has perhaps only recently been acknowledged fully, and is in fact not looked into all that closely here. It carried on through the 1970s, all but ignored by the cultural gatekeepers of the south; that is, until documentarist Tony Palmer brought his cameras and lights into the club to make The Wigan Casino as part of Granada TV's This England strand, an outsider incursion grumblingly resented at the time but now treasured as a unique archive record.Understanding the Movement's IdentityWhat is fascinating about northern soul is the way it survived under the media-cultural radar and appears to resist larger interpretive analysis. It was not overtly political, unlike punk or reggae, and there is no consensus here about the status of the northern soul consumers. Were they unemployed, poor, alienated and angry? Not necessarily. Many here recall having good jobs and apprenticeships of the sort they wouldn't have now.Enduring Influence and MysteriesAs for whether it was revolutionary in any sexual sense, commentator Paul Mason suggests that there was something homoerotic in the male atmosphere. Maybe, yes: but no one here has any first-hand experience to share about that. As for the Wigan Casino itself, the building's lease was terminated by the council at the end of the 70s prior to planned demolition; just when the tenants might have disputed this, the building mysteriously burned to the ground. (Maybe we need David Peace to write a novel about that.) Northern soul was clearly the godfather of the club and rave scenes of the 90s and beyond, but for me, a question remains: what did the American acts themselves think of it? Were they ever tempted (or invited) to play live at the Wigan Casino?

The Cultural Phenomenon Returns On a chilly morning at a Silvertown studio behind London City airport, the sunburst intro to Jimmy Cliff's The Harder They Come is on repeat. Dancers run through a routine studded with reggae and dancehall moves. "Get high," commands associate choreographer Neisha-yen Jones with a smile. "Get low!" The ensemble rise and dip. They do the bogle and whine around each other as their watchful director Matthew Xia nods along. They circle Natey Jones who breaks out the opening line: "Well, they tell me of a pie up in the sky." In the distance, a plane leaves the ground. From Film to Theatrical Celebration It's eight months since The Harder They Come's full-throttle takeoff at Stratford East, where the musical was so popular that it is now returning for a second run which will also serve as a eulogy for Cliff who died in November. Playwright Suzan-Lori Parks' adaptation of Perry Henzell's 1972 Jamaican film is bolstered by a handful of her own songs as well as classics including Israelites and Wonderful World, Beautiful People – plus every number on the film's monumental soundtrack. Jones is reprising the role of Ivan (played on screen by Cliff and inspired by real-life outlaw Rhyging), who arrives in Kingston from the country and is dismissed and exploited, before becoming both a hit singer and a fugitive. The Evolution of a Cultural Narrative The original was akin to cinéma vérité, directly evoked spaghetti westerns and veered into blaxploitation territory; Ivan's tale has gained greater warmth, humour and protest spirit on stage. It was the best musical I saw in 2025. "The story is a tragedy but the theatrical event is a celebration," says Xia of his production. Twenty years ago, the film was adapted as a musical with a book by Henzell, also at Stratford East. "It all started at Ivan's Nine Night," Xia recalls. "There was a massive poster of Ivan on the wall, with everyone coming, and it was told in retrospect with vignettes." Choreography and Cultural Connection Shelley Maxwell, recently arrived from Jamaica, was watching the musical in the audience one night and has since become the choreographer of the new production. She has fused the folk dance forms of revivalism and pocomania, learned in her childhood, with reggae, dancehall and moves that today's teenagers can recognise. "I wanted to tap into the youth market," she says. It's brought some enthusiastic feedback from audience members who may not know the film. "Like: 'Oh my God, they did that step I always do at a party!' It allows them to form a connection." Authenticity and Cultural Representation Xia, wearing trainers in the Jamaican flag's colours, and Maxwell, whose tracksuit has the same black, green and gold trim, were intent on instantly transporting their audience to Kingston. The opening, says the director, is an "establishing shot" with characters coming and going on Simon Kenny's magnificent multi-level set, accompanied by Toots and the Maytals' hit Funky Kingston. To borrow from its lyrics, you really can believe everything they do. Even each move in the dominoes game we see is scripted, explains Maxwell, who mapped out the market scene with precision: "Where are you going to? How heavy is the item that you're holding? This is the swing of the hips." Social Commentary Through Performance Xia, whose father came to England from Jamaica in the 1970s, praises the freewheeling realism of the film. "Lots of the background performers are just whoever happened to be in the market that day, or walking through the shantytown. Lots of the actors were people that Perry knew, they had no training." Henzell, says Xia, showed "the part of Jamaica that had always been hidden, people living hand to mouth". The musical depicts a "quartet of oppression" against Ivan, as he takes a stand against individuals representing hypocrisies of the church, law, drugs trade and music industry. Universal Themes and Contemporary Relevance The Harder They Come was both a pioneering example of independent film-making for Jamaicans and a portrait of a newly independent country. Maxwell, who grew up glued to Hollywood musicals, says it was empowering to discover a film full of the Jamaican songs she loved. "I was probably way too young when I saw it. But what I saw was the world around me." She traces how different forms of music played a pivotal part in the country establishing its identity, moving from African forms and American R&B; to mento, ska, rocksteady, reggae and the rise of Bob Marley and Jimmy Cliff. Maxwell captures that chain reaction with a tantalizing question: "What's this groove becoming?" Transforming the Narrative for Modern Audiences The musical also makes its hero's actions more understandable. "In the film, Ivan becomes a kind of wanton murderer," says Xia. In the musical, "he accidentally shoots a police officer when he's under threat, is remorseful, yet also knows that if he gives himself in then that's the end of his journey". Another significant change is the depth given to the principal women – Ivan's mother Daisy and Elsa, with whom he falls in love under the eye of her authoritarian guardian, the preacher. "The moral heart of the piece now resides in those two women," says Xia. Maxwell transforms a brief sequence from the film, in which Ivan imagines a tryst with the devout Elsa, into a floor-trembling set piece when the preacher's congregation lose their robes to indulge in lustful fantasy. The male gaze of the original scene is duly excised: "it had to be like it was both of them in partnership in that fantasy world," says Maxwell, who adds that the nature of dancehall – "grinding, gyrating on another body" required her to use her skillset as an intimacy director.

The LeadVictor Wembanyama returned from suspension with a dominant performance, scoring 27 points and grabbing 17 rebounds to lead the San Antonio Spurs to a commanding 126-97 victory over the Minnesota Timberwolves. The win gives the Spurs a 3-2 lead in their Western Conference semifinal series, positioning them one win away from advancing to the conference finals.The Wembanyama RedemptionWembanyama's return was highly anticipated after he was ejected in Game 4 for elbowing an opponent, which resulted in an automatic suspension. The young star expressed his eagerness to return, saying "Very, very much" when asked how anxious he was to get back on the court. He delivered in spectacular fashion, scoring 16 of the Spurs' first 24 points and finishing with a double-double in just the first half alone (21 points, 11 rebounds)."I think one thing, the one word I'd like to use, just 'mature,'" Spurs coach Mitch Johnson said of Wembanyama. "There's a lot that's happened in the last 48 hours, in the last game, and I think how that young man came out tonight and played in a variety of ways, in a variety of situations, not just in terms of his production, was extremely mature and then defensively, start to finish."The Statistical BreakdownThe Spurs received balanced scoring beyond Wembanyama's performance:Keldon Johnson: 21 points off the benchDe'Aaron Fox: 18 pointsStephon Castle: 17 pointsDevin Vassell: 12 pointsDylan Harper: 12 points, 10 reboundsFor the Timberwolves, Anthony Edwards led with 20 points, while Jaden McDaniels and Julius Randle each had 17 points. Ayo Dosunmu contributed 16 points and Naz Reid added 12.The Spurs led by as many as 18 points in the second quarter before settling for a 12-point advantage at halftime. After Minnesota tied the game at 61-all early in the third quarter, San Antonio responded with a 30-12 run to take control of the game.The Series ImplicationsThis victory gives the Spurs significant momentum and a 3-2 series lead. The team showed resilience and maturity, particularly from their young star Wembanyama, who channeled his frustration from Game 4 into a dominant performance."We played with the appropriate fear, discipline, execution, physicality, poise," Spurs coach Mitch Johnson said. "And I thought we had it from an array of people tonight, and it was really good to see. We needed everybody, because at different moments of the game, different guys stepped up."The Timberwolves, meanwhile, struggled with consistency, particularly on defense. "We went away from what was working, and then, you know, defence just cratered," Timberwolves coach Chris Finch said. "In the last six minutes of the third quarter, lot of it was just ball contain stuff. And, you know, offensively found stuff that was working, then we just started breaking off plays, you know. And that's my job. I gotta get us back on track. That's on me."The Path ForwardThe series now shifts to Minneapolis for Game 6 on Friday, with the Timberwolves facing elimination. If necessary, Game 7 would be back in San Antonio on Sunday."I don't see nobody in our locker room that [is] worried at the end of the day," Timberwolves star Anthony Edwards said. "Man, it's another basketball game. So you come out, put your boots on and get ready to go work."

The World's Longest Football DerbyCarlisle and Barrow will play each other next season in the Cumbrian derby in the National League. The clubs are located at opposite ends of Cumbria and the distance between the two grounds is some 78 miles by car. But this is not the greatest distance between two teams involved in a 'derby'.When considering derbies, we are looking for matches between teams that are linked based upon their proximity or geography, rather than simply historical rivalries like the 'clásico' between Real Madrid and Barcelona.UK Derbies: The Cumbrian ContenderWithin the UK, the Cumbrian derby certainly looks the furthest derby by distance. If we are staying in England, the closest we can get to 78 miles is the A49 derby between Shrewsbury Town and Hereford United, separated by 51 miles, although it should be said that the two teams have not met since the latter was dissolved in 2014.In England, thoughts immediately go to Crystal Palace and Brighton, dubbed the M23 derby, but a quick search reveals that Selhurst Park is a mere 46 miles from the Amex Stadium. It is also 46 miles that separate the stadiums of Plymouth Argyle and Exeter City, the Devon derby. Just behind are Ipswich and Norwich – the East Anglian derby (AKA El Tractico or the Old Farm) – with Portman Road and Carrow Road 45 miles apart.International Long-Distance DerbiesFarther afield, we must mention the derby between Persib Bandung and Persija Jakarta, who take part in the Indonesia derby, or Laga Klasikal as it is locally known, with Persib's Gelora Bandung Lautan Api Stadium lying 108 miles away from Persija's Jakarta International Stadium in Indonesia's capital.Italy is fertile ground for a host of famous derbies, and it is here that we find some of the longest-distance derbies. Of course there is the Derby d'Italia between Milan and Juventus, with 85 miles separating San Siro and Juve's Allianz Arena in Italy's north-west. The Derby di Sicilia between Palermo and Catania spans a whopping 134 miles across the breadth of Sicily, while the Derby delle Isole (Derby of the Islands) between Palermo and Sardinian club Cagliari goes even further – a full 250 miles across the Tyrrhenian Sea.The Champion: New Zealand's 386-Mile DerbyOur winner, though, comes from New Zealand's North Island. With Auckland FC only entering the A-League Men in 2024-25, the New Zealand derby between themselves and Wellington Phoenix is still very much in its infancy but has already blossomed into something substantial. In February, just the sixth edition of the derby, a comical own goal from Wellington goalkeeper Josh Oluwayemi sparked a 5-0 thrashing by Auckland, prompting Phoenix coach Giancarlo Italiano to resign immediately after the defeat. With 386 miles between the two grounds, the NZD is our clear winner.The Evolution of Geographic DerbiesThe existence of such long-distance derbies challenges our traditional understanding of what constitutes a local rivalry. In an era where football has become increasingly globalized, these geographic matchups represent unique connections between communities separated by vast distances. The New Zealand derby, in particular, showcases how even in a country with a relatively small population, football can create intense rivalries across significant geographical divides.The Future of Long-Distance DerbiesAs football continues to evolve, we may see more long-distance derbies emerge, particularly in regions with expanding leagues or where new clubs are formed to serve underserved areas. The New Zealand derby between Auckland and Wellington Phoenix is a prime example of how modern football infrastructure and scheduling can create meaningful rivalries regardless of distance. With the increasing popularity of travel and fan engagement, these long-distance derbies may become even more significant in the future of football culture.Double Winners in FootballDeji Elerewe has won the title with both Bromley (League Two) and Lincoln (League One) this season. Has any other player managed the same feat?We covered this answer 10 years ago in a previous Knowledge, but regular contributor Dirk Maas has come in clutch with some additions, although he does clarify that he has limited his search to the top five leagues in Europe in this century.There are several examples of players winning titles with different teams in the same season, including:Jonas Urbig with Köln (2. Bundesliga) and Bayern Munich (Bundesliga) in 2024-25Leigh Griffiths with Celtic (Scottish Premiership) and Wolverhampton (League One) in 2013-14Urby Emanuelson with Ajax and Milan in 2010-11Daniel Amartey with Leicester City and FC Copenhagen in 2015-16Timothy Weah with Paris Saint-Germain and Celtic in 2018-19Khvicha Kvaratskhelia with Napoli and PSG in 2024-25There are also alternative cases where seasons happen at different times of year, such as David Beckham achieving this by picking up an MLS winner's medal with LA Galaxy and a Ligue 1 winner's medal with Paris Saint-Germain in 2012-13.